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Unit Three Concept Map - Coggle Diagram
Unit Three Concept Map
North America
- During the later half of the 19th century, artists in this region were exploring their relationship to the institutions of music and looking to find inspiration from new places
Minimalism
- As these artists looked for something new and different from the institutional east coast serialism, they looked to various eastern religions such as Buddhism for musical inspiration
- Minimalism emerges outside of institutions in the 60's
- Minimalism can be characterized by simple tonal harmony with ostinato's that distort the listeners sense of time
Philip Glass (1937-present)
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Tonal Music
- Sometimes also called "light music"
- Music that was generally considered to be more for general consumption
Band Music
- Marches and the like
- Generally highly structured and relatively easily played by amateur and hobbiest musicians
John Philip Sousa (1854-1932)
- Composed a lot of music for various military and other bands
- Toured with programs that included arrangements of many prominent european composers
Washinton Post March
Charles Ives (1874-1954)
- Composed a march to specifically sound like an amateur band
- More experimental and Modernist
Country Band March
Sweet Jazz
-Different from "Hot Jazz", this style is typefied by white classical musicians appropriating Black American Music, and diluting it for white audiences
Paul Whiteman (1890-1967)
- Composed music in a style "inspired" by jazz, but had no connection to the actual culture of jazz
- Appropriate of Black American Culture for profit
- Wanted to make jazz "appropriate for respectable people and places"
Whispering
Popular Songs
- Music written in places like tin pan alley
- Specifically written for musicals or for amatuer musicians to play and enjoy
- Moslty Written by song pluggers
George Gershwin (1898-1937)
- Gershwin was one such "song plugger" he composed many songs that were later played by Jazz musicians
- He also wrote Rhapsody in Blue for the Paul Whiteman Orchestra
Rhapsody in Blue
Music for a National Identity
- Comming out of the late 19th century, composers in North America have a desire to craft a music that supports a National Identity
Aaron Copeland (1900-1990)
- Interested in Jazz and a "simple idiom"
- National identity based on open space and expansionism
Appalachian Spring
Spiritual Art Songs
- Coming a little bit from the tradition of older art song composers, many Black American musicians in the 20th century began to incorporate traditional African American spirituals into this ideom
Flourence Price (1877-1953)
- Price was the first Black American Musician to have her composition played by a major symphony Orchestra
- Did a lot of work to put traditional Spirituals into a more classical idiom
My Soul's Been Anchored in the Lord
William Grant Still (1895-1978)
- Composed in may different styles
- First Black American to conduct a major American symphony orchestra
Plain Chant for America
Marien Anderson (1897-1993)
- Anderson was a highly influential singer in the 30's in the US, she was a concert singer and performed art song recitals
- She performed at the Lincoln Memorial in 1939 in front of a huge audience
Carlos Chavés (1899-1978)
- First director of Mexican Symphony Orchestra
- Mexican National Identity rooted in recovered pre-colonial music
- "Indianist" Style based in speculations about pre-colonial music indigenous music
Xochipilli
Atonal Music
- In the later half of the 20th Century Ivy league schools on the East Coast begin to focus their curriculum on Atonal music, both serial and free, often hosting composers from the european Avant Guard as professors
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New Music
- During the later half of the 20th century and into the 20th American composers continued to explore different aspects and places of inspiration for music
- Considerations of where music is performed and who is it for come into play
- Indie classical
Caroline Shaw (1982-present)
- Composed partita for 8 voices that incorporated Inuit throat singing with no credit to actual composers and people who are a part of that tradition of music
Partita for 8 Voices
Wendy Carlos (1939-present)
- Important trans composer and innovator in Electronic music
- Used a MOOG modular synthesizer to perform various Bach pieces in an album titled Switched-On Bach
Europe
- Coming out of romanticism composers searched for new sources of inspiration and ways of thinking that pushed their music in new directions
- After WWI and especially WWII composers had to reconsider the ways that their music interacted with nationalism and Fascism
- Additional as the industrial revolution expands the size of the world that composers interact with (through things like the World Fairs) exoticism becomes extremely present in many works
Symbolism
- Coming out of the 1800's there was a strong idea that there was a need for a "new music", and composers began looking to cultures outside of Europe for inspiration
- These composers felt that music should be transcendent not decorative
- High use of pentatonics and ostinatos
Claude Debussy (1862-1918)
- Considered himself a Symbolist rather than a modernist, but can still be categorized under modernism
- Sought inspiration from other cultures and various forms of the contemporary art of his time
- Debussy creates a strong move away from tension, using more octatonic, whole tone, and pentatonic ideas than a particular tonal structure
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Modernism in Opera
- 19th century European Opera is heavily influenced by Wagner
- Pieces become very maximalist and provocative, often lasting hours and centering around highly taboo subjects
- Conventions of harmony and form become increasingly loose, with more use of chromaticism and more continuous music
German and Viennese Modernism
- Concerned with decadence
- Chromatic and dissonant
- Transgressive
Richard Strauss (1864-1949)
- Wrote Salome in 1905, based on a play by Oscar Wilde about the first transgression. The opera is very vulgar and provocative and is banned in several Countries
Salome
Italian Modernism
- Influenced by Wagner but still see Opera as an Italian thing
- Highly influenced by Naturalism, these composers seek to write "Big music for little people"
Giaccomo Puccini (1858-1924)
- Composes La Boheme in 1895, which focuses on the lives of ordinary people and later becomes heavy inspiration for the musical Rent
La Boheme
New Viennese School
- This group comes after the Viennese School of the Romantics, and seeks to find new methods of composition through exploration of Atonal Music in the early 1900's
- Use of the 12-tone or Serial method, as well as free atonality
Arnold Schoenberg (1874-1951)
- Formulates Serialism
- Moved to the United States and became super influential in bringing Atonal music to the United Stated and various Ivy League music programs
Piano Suite Op. 25
Music for Ballet
- In the 20th Century the centers of Ballet were France and Russia, composers like Tchaikovsky had brought Ballet to Russia and through Companies like Ballet Russes in Paris, Russian Ballet began to influence Parisian Ballet
- 19th century Ballet Music had been much more structured and there was very little experimentation in the genre, but as modernist dance was breaking conventions of control, formality, and grace, so too did the music need to break convention
Igor Stravinskiy (1882-1971)
- From Russia but spent most of his career in Western Europe
- Composed in many different styles including having a 12 tone phase
- Studied with Rimsky-Korsakov
-Composed Rite of Spring about pagan rituals in far off Russia. This Ballet is heavily bassed of Folk melodies from Russia and uses more Modernist composition techniques such as ostinatos and less of a relationship to a tonal system
Rite of Spring
Socialist Realism
- During the Cold War Soviet Russia had strict rules set on composers that limited how experimental or provocative composers could be
- Music was supposed to follow a more 19th century Model and was in general was tonal, but chromatic, and primarily symphony and opera
Dmitri Shostakovich (1906-1975)
- Was the star composer of the Soviets
- Wrote Lady Macbeth of Mtsenk in 1934 which received criticism from Stalin
- In 1937 he composed Symphony No. 5 as "an artists responce to just criticism
Symphony No. 5
Post War Avant-Garde
- After WWII, composers in Germany sought to distance themselves from the music that had been important to the Nazi's
- The Nazi regime had espoused Beethoven and to some extent Wagner, but had banned Jewish composers like Schoenberg
- Composers sought to find music that music that was anti-nationalist and that resisted the pull to conformity
- "Revenge of Serialism" and High Modernism
- Much of this innovation took place at Darmstadt summer courses
Pierre Boulez (1925-2016)
"Any musician who has not experienced the neccesity of the dodecephonic language is useless"
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Electronic Music
- With the Advent of new technologies such as the tape recorder and oscillators, many composers in the Avant-Garde Idiom experimented with these new technologies
- Many European countries had great publicly funded radio that allowed for composers who worked at radio stations to experiment with this new technology
Music Concrete
- This music primarily used the earliest for of sampling, composers would take recordings from the real world and mix and match them
Pierres Schaffer (1910-1995)
- Worked for Radio France
- Combined sound clips to create compositions that exist as their recordings
Etude aux Chemins de Fer
Electroacoustic Music
- Used oscillators to produce the sounds
Karlhienz Stockhausn
- Coming from both the camps of Darmstadt and Electroacoustic Music, Stockhausen often created music that was explicitely anti-fascist and anti-propoganda that often incourporated elements of Electroacoustic Music or was composed to sound like electronic music
Threnedy for the Victims of Hiroshima
György Ligeti (1923-2006)
- Acoustic reproduction of white noise
- From Hungary
Atmosphères
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