Please enable JavaScript.

Coggle requires JavaScript to display documents.

Unit 10 (LG 56 (Details (Melody >Highly disjunct #, Rhythm/meter >…

- - - - Break from tradition
        
        Dissonance does not have to resolve to consonance
        
        Reject tonality (atonality)
  - - - Edward Munch
    - - Hyper-expressive harmonies
      - Wide melodic leaps
      - Instruments in their extreme ranges
  - - - Students Berg and Webern
    - - Post-Romantic, atonal-Expressionist, twelvetone
- - - - Poems about Pierrot a poet/rascal/clown
      - Bizarre and macabre
    - - Pierrot disturbed by a white spot on his black jacket; rubs and rubs but cannot get rid of it (it
        is just a patch of moonlight)
      - Fugues, canons in accompaniment
      - Details
        
        Melody > Disjunct line, quasi-speechlike (Sprechstimme) #
        
        Rhythm/meter > Very fast, sounds free-flowing
        
        Harmony > Harshly dissonant
        
        Texture > Complex counterpoint with canonic (strict imitative) treatment
        
        Form > Rondeau text with poetic/musical refrain
        
        Timbre > Pointillistic, flickering instrumental effects
        
        Performing forces > Voice with five instruments (piccolo, clarinet, violin, cello, piano)
        
        Text > 21 poems from Albert Giraud's Pierrot lunaire, all in rondeau form
- - - - Innovative
        
        New scales & harmonies
      - Various Cultures
      - Use of various sound sources
      - Highly virtuosic instrumental or vocal effects
    - - Henry Cowell (1897–1965)
        
        Combined Asian instruments with Western ensembles
        
        Music from Iran, India, Japan
        
        Foreign scales with western chords
        
        Pre-cursor to ”prepared piano”
        
        Tone clusters for piano
        
        Group notes played with fist, forearm, and
        palm
        
        Plucking piano strings directly
      - Tiger- Tone Cluster Ex.
      - The Banshee- Plucking/strumming piano strings
      - Harry Partch (1901–1974) # #
      - Proponent of microtones
        
        Developed a scale with 43 microtones to the
        octave
      - Built/adapted instruments to play it
        
        Focus melody & timbre- not harmony
        
        Adapted Indian and African instruments to
        fit tuning
        
        Cloud chamber bowls- made glass
        
        Cone gongs (made metal)
        
        Gourd trees
    - - Born in LA
      - Early interest in non-Western scales
      - Cowell mentor
      - In 1938, invented the prepared piano
      - Indeterminacy, aleatoric, and chance music
      - Explored the role of silence in 4'33"
      - Raised profound questions about the nature of music
      - Eternally questioning artist
    - - Retired from composition faculty of the
        University of Pennsylvania in 1999
      - Special affinity for the poetry of Lorca
        
        Lorca’s poetry in his song cycle
        Ancient Voices of Children and in
        his four books of madrigals
      - Unusual vocal and instrumental effects
      - Creates new sonorities
      - Turns ordinary instruments (including the
        voice) into the extraordinary
- - - - Rejection of 12 tone music
      - A new, also scientific way to approach stable harmonies was found in process music
        which became minimalism
        
        Process Music- a few notes repeating over and over and often elaborating
      - Developed through technology into phase music
        
        Record snippet of audio then loop
        
        Changing speeds causes music to go in and out of phase
      - Phase music later by live musicians
    - - Born in NYC, studied modernist composition
        at Juilliard
      - Wanted to write tonal music, pioneered
        process music
      - Studied West African drumming and
        Balinese gamelan
      - Judaic heritage central to many works
        
        Grammy- Different Trains
- - - - Materials inserted between the piano strings
      - Varied timbres
    - - Melody > Irregular phrases, small-range, undulating chromatic line; second section is more disjunct
      - Rhythm/meter > Opening with regular movement, then changing rhythmic flow, seemingly without a clear meter
      - Harmony > Minimal sense of harmony; dissonant ending
      - Texture > The focus is on linear movement
      - Form > Binary structure (A-A-B-B)
      - Expression > Evokes ethereal, otherworldly sounds
      - Timbre > Piano produces percussive effects, both pitched and nonpitched; varied tone quality and pitches
- - - - Melody > Short melodic ideas repeated as an ostinato
      - Rhythm/meter > 3/2 meter, 12 "pulse-unit" also presented as 6/4 and 12/8; regular rhythms with varying patterns and accents in syncopation.
      - Harmony > Diatonic, mostly static with some subtle shifts; predominant chords are C major, B minor, E minor
      - Texture > Highly polyphonic, with canons
      - Form > Through-composed
      - Expression > An almost trance-like effect from the gradual addition and combination of regular patterns; striking moments created by subtle changes
      - Performing forces > Live guitarist playing with 12 prerecorded tracks (2 bass guitars and 20 guitars)