Академический Документы
Профессиональный Документы
Культура Документы
In 1900, the movement known as Modernism began to affect all the arts:
literature, painting, sculpture, architecture, and music
Composers rejected tonality, the harmonic basis of music since the
seventeenth century, and adopted radically new harmonic structures
In this period of excitement, experimentation, and optimism, the greatest
composers were Debussy, Schoenberg, and Stravinsky
World War I (1914-1918) shattered this sense of optimism
In this long drawn-out conflict ugly, brutal, and often senseless 40 million
people died and 20 million were wounded
The greatest composers of the period between the wars (WWI and WWII)
were still Schoenberg and Stravinsky (Debussy had died in 1918) but also
included two students of Schoenberg Berg and Webern as well as Bartok
in Hungary, Shostakovich in the Soviet Union, Britten in England, and Ives
and Copland in the United States
1939-2000
-
World War II (1939-1945) broke out only twenty-one years after the end of the
First World War
Large numbers of people including scholars, artists, writers, composers, and
performing musicians came from Europe to America as refugees
From 1945-1960s, two musical trends asserted themselves
The first was a tendency toward intellectualization
Music became so organized, so mathematical in its structure that many
audiences turned away from classical music altogether
The second trend in this period involved radical experimentation, parallel in
some ways to the period about 1900
Composers experimented with music in every conceivable way, throwing out
all the conventionally accepted norms of music making
They put the compositional process into the hands of the performers
They challenged audiences and violated conventions of time, performing
medium, and concert decorum
Most particularly, they experimented with sound
Conventional instruments were pushed to new limits, exotic instruments were
introduced, and new instruments were invented
Most influential was the use of tape and then synthesizers and computers in
the production of musical sounds
Since the mid-sixties, a new movement was evident in Western culture, a
movement called Postmodernism
From the start of Postmodernism, everything was cast into doubt, including
the worth and meaning of Western culture itself
Music made a radical move away from the intellectualized compositions of
the postwar period toward a new accessibility of style
Composers began again to address their audiences
They borrowed ideas from rock music to appeal to a wider public
They expanded their frame of reference to include the rhythms, timbres, and
harmonies of other countries
And many of them made a conscious return to traditional tonality, to provide
an aural context and meaning that many Modernists had rejected
As we have seen, the idea of tonality the use of scales, chords, and
harmonies in music developed over many centuries, reaching its heights in
the Classic and Romantic periods
However, by the late nineteenth century, composers were already
experimenting with new ways of approaching tonality, including starting a
piece in one key and ending in another, composing passages where it is
difficult to determine what the key is, and other innovations
This trend accelerated in the early twentieth century in the works of
composers like Debussy, and reached its culmination in a musical revolution
led by Arnold Schoenberg
Schoenberg and his students created a new theory that would become known
as atonality an attempt to liberate music from the traditional rules of
composition
Schoenbergs work also led to the creation of new scales based on his new
theory
New scale patterns included the penta-tonic scale, the whole-tone scale,
and the octatonic scale
The pentatonic scale has only five notes, usually in the following pattern:
Page 213, bottom
This pattern of intervals can be reproduced by playing only the black keys on
the piano
Pentatonic scales had been around for a long time in many Asian musics and
Western folk musics, but they were new to Western classical music
The whole-tone scale has a whole step between each pitch and the next,
and the scale has only six notes:
Page 214, top
Because there are no half steps in this scale, the sense of pull given by the
last half step in the traditional octave scale is missing, and tonality is
bypassed
The third new scale developed by composers in the twentieth century was
the octatonic scale
This has eight pitches within the octave, in a pattern of alternating whole and
half steps:
Page 214, middle
As well as inventing new scales, composers sometimes turned to a system
that had been in use before the establishment of tonality
This was the modal system, the basis of music during the Middle Ages and
the Renaissance
In addition to using new scales, composers experimented with polytonality
and nontriadic harmony
Polytonality means the simultaneous sounding of two or more keys at once
Both Igor Stravinsky and the American composer Charles Ives used
polytonality
Nontriadic harmony means harmony that is not based on the triad, the
standard basis for chords in conventional tonality
The German composer Paul Hindemith, who emigrated to the United States in
1940 and was an extremely influential teacher, often used quartal chords,
based on fourths instead of thirds:
Page 214, bottom
Melody
-
In the twentieth century, melody often became erratic, with wide leaps,
irregular rhythms, and unexpected notes
Phrase lengths changed constantly
It was impossible to anticipate where a melody would go next
Rhythm
-
Another way in which rhythms became more complex was by the use of
rhythmic freedom
Composers frequently directed each individual performer to play at his or her
own speed, thus creating a series of overlapping rhythms in place of one
steady pulse
Finally, the advent of the computer allowed composers to manipulate rhythm
in an infinite variety of complex ways
Length
-
HARMON
Y
SCALES
MELODY
RHYTHM
Balanced, smooth,
predictable
Rhythms are regular and
largely predictable
LENGTH
Standardized by genre
TONE
COLOR/
SOUND
Standardized around
family of classical
instruments
Ensemble size/types of
instruments conventional
for each genre
In the Modernist movement, which was centered in Paris, there were many
parallels between music and the other arts
Impressionism is music refers to a style of composition in which the outlines
are blurred and there is a great deal of harmonic ambiguity, often created by
whole-tone, pentatonic, or chromatic scales
The composer whose music most closely paralleled these developments was
Debussy, who was also French and lived in Paris
In 1884 he won the prestigious Prix de Rome, the highest award for French
composers
One of the influences on his music was the distinctive sound of the
Indonesian gamelan
Debussys most famous orchestral composition is the Prelude to the
Afternoon of a Faun (1894), which is based on a poem by the Symbolist poet
Stephane Mallarme
His music was little known until he was about forty
After the premiere of Pelleas et Melisande, he became quite famous and
traveled around Europe conducting performances of his work
Debussy died of cancer in his native Paris at the age of fifty-six
Primitivism
-
Stravinskys Music
-
Stravinsky used syncopation with great effect, and often a short rest or
silence appears, to throw the rhythm off balance
Second, Stravinsky had an acute ear for tone color
He used unusual combinations of instruments to get exactly the effect he
wanted, and he also used instruments in novel ways
Finally, Stravinskys use of harmony was highly original
Much of his music is tonally based, and yet he often used two key centers
instead of one
Another very characteristic harmonic effect is the use of an ostinato
(repeated pattern) as an accompaniment
Above the ostinato, the harmonies may change, but the ostinato remains as a
kind of tonal anchor
Expressionism
-
The links among the visual arts, literature and music were particularly
evident in one branch of Modernism that became popular during the years
1910-1939
This branch was known as Expressionism, and it evolved during a time of
growing fascination with the unconscious and peoples inner feelings
Although the Expressionist movement had its exponents in Germany,
Norway, and other countries
The connections between painting and music at this time were particularly
strong
Both Expressionist painters and Expressionist composers attempted to focus
on inner states of being and the evocation of extreme feelings
The composer uses all the available notes, instead of just some of them
(there are twelve notes in an octave, counting all the half steps)
But the notes are used in a strict order (established an advance by the
composer), and this order must be followed throughout the piece
The most important of the compositions with twelve-tone system are the
gigantic Variations for Orchestra (1928), the extraordinary opera Moses and
Aaron (1932), the Violin Concerto (1936), the Fourth string Quarter (1937),
and the Piano Concerto (1942)
The twelve-tone system allowed Schoenberg to write far more extended
compositions than had been possible before
Schoenberg died in 1951
Schoenbergs Music
-
Schoenbergs music can be divided into three periods: the early period, the
atonal period, and the much longer twelve-tone period
Schoenberg increased the use of chromaticism and a gradual dissolving of a
central atonality
In Schoenbergs middle period, from 1908 to 1915, he developed his idea of
atonality
His most important atonal compositions either have a text (like Das Buch der
hangenden Garten and Pierrot Lunaire) or are quite short
From 1923 until the end of his life, Schoenberg concentrated on twelve-tone
composition
It is fascinating to notice how, at the beginning of his twelve-tone period,
Schoenberg balanced his revolutionary ideas with very traditional forms
Schoenbergs Students
-
The two most famous students of Schoenberg were Alban Berg and Anton
Webern
Both men began studying with Schoenberg in their late teens, and both
became deeply absorbed in his pursuit of atonality and finally of the twelvetone system
He was born in Vienna, and had no formal training before he began writing
music
Bergs early compositions are in the late-Romantic style and include a piano
sonata and several songs
His first atonal piece was the String Quartet, Op. 3, written in 1910
During World War I, Berg served three years in the army and worked in the
Ministry of War, but he also managed to begin composing the first of his two
great operas
Wozzeck was completed in 1922 and stands as the first atonal Expressionist
opera
Bergs Music
-
He adopted atonality and twelve-tone technique but much more flexibly than
either Schoenberg or Webern
He never abandoned the Romantic idea of lyricism
Wozzeck
-
If Berg represented the link backward from Modernism to the past, Webern
may be seen as the link forward from the first stage of Modernism to the
second stage (after World War II)
Weberns music is spare, abstract, and restrained
He was born in Vienna
In 1945, after the war had ended and American forces were occupying
Austria, Webern went outside one night to smoke a cigarette and was shot by
a jittery American soldier
Weberns Music
-
His work grew out of the nationalist movement of the second half of the
nineteenth century
Was born in Hungary
He entered the Budapest Academy of Music as a student
He died on September 26, 1945
Bartoks Music
-
The title is a play on words, because concertos usually put the spotlight on a
single instrument rather than on a whole orchestra
But the work was written to celebrate the brilliance of all the orchestras
players
His musical style is very individual and profound
His fast movements are often very exciting both wild and passionate
And his slow movements range from pieces of delicate mystery to extremes
of lyrical intensity
In his harmony, too, Bartok was highly original
He mingled the modality that is present in much indigenous music with both
chromaticism and tonality
He was born just before the Russian Revolution and died fourteen years
before the collapse of Communism
He lived most of his life under the Soviet system, attempting to find a
balance between creative freedom and the demands of a totalitarian state
His plight is movingly described in his memoirs, entitled Testimony, smuggled
out of the soviet Union and published in 1979
Because music in the Soviet Union was supposed to represent the policies of
the state, Shostakovich often came in for official criticism
He wrote his Tenth Symphony in 1953
This is one of his greatest works
It is highly expressive and personal, with a voice of g works to put his
grieving introspection
He often used a short musical motive in signature on them
He used traditional forms, such as the symphony and the string quartet, but
he did so with great flexibility, expanding the number of movements, adding
voices, and writing to a program
He was a composer who proved that tonality, updated, refreshed, and
reinvented for the twentieth century, was still a highly viable means of
expression
In most of his vocal works, a central role is designed for tenor Peter Pears
Brittens War Requiem(1961)was written for the dedication of the new
cathedral in Coventry, England, which had been constructed to replace the
great medieval church destroyed during World War II
Brittens individual sound is based on many factors: the directness and lack
of pretension in the melodic lines, the common use of high tenor voice (this
range seems to affect even his instrumental compositions), and an almost
constant tension between conflicting tonalities
In the nineteenth century, the American tradition was kept alive in the south
and the Midwest by means of shape-note books, in which pitches are
indicated (for people who cannot read music) by simple signs such as small
triangles, circles, and squares
One of the best-known of these shape-note hymn collections is The Sacred
Harp, published in 1844
African American spirituals were sung widely throughout the nineteenth
century, although the first published collection of spirituals did not appear
until 1867
And in the Midwest, one of the most original American composers, Anthony
Heinrich (1781-1861, known as the Beethoven of Kentucky) wrote elaborate
and complex orchestral works descriptive of nature on the frontier
But the rough-and-ready style of American music was soon overwhelmed by
more proper, European-trained composers
About the beginning of the twentieth century, American music and music
making were still strongly influenced by the mid-nineteenth-century European
tradition
The United States had not participated in the nationalist wave that swept
through many other countries from the 1860s to the 1890s
American composers, mostly trained in Europe, paid little attention to the
enormously varied indigenous music around them: African American
spirituals, New England hymn tunes, Native American songs and dances, the
music of jazz bands, revival-meeting songs, and Irish-Scottish-EnglishAmerican folk melodies
And the American public was interested only in imported music: Italian
operas, Handels English oratorios, and above all, German symphonies and
chamber music
Music was then better established on the American scene when the
Conservatories of music were founded
Concert halls were built, and music began to be taught as a serious discipline
on university campuses
The first Modernist composer whose work was distinctively American was
Charles Ives, who grew up in a small Connecticut town
He was the son of a bandmaster and music teacher whose approach to music
was fun-loving and unconventional
Ivess father used to play tunes in two different keys at once, and he
sometimes asked Charles to sing a song while he played the accompaniment
in the wrong key on the piano
This open-minded and experimental approach stayed with Ives all his life
He then went to Yale as an undergraduate and over the next ten years, he
wrote an enormous quantity of music
Although he lived until 1954, most of his music dates from before World War I
He was a radical experimentalist, who nonetheless believed in the values of
small town America
Most of his compositions are based on American cultural themes: baseball,
Thanksgiving, marching bands, popular songs, the Fourth of July, fireworks,
and American literature
Ivess most famous composition is The Unanswered Question (1908), in which
two different instrumental groups, sitting separately, play different music at
the same time
The music of Charles Ives was virtually unknown in its own time
It was only in the 1940s that Ivess work began to be performed, and only
many years later that he began to be recognized as the first truly original
American musical genius
In addition, he often used the intervals of a fifth and an octave in his music,
very open-sounding intervals, and his chord changes are slow and static,
suggesting the more gradual pace of natures clock
Building Bridges
-
The person who best represented American music and music making in the
second half of the twentieth century was also one of the most famous
musicians in the world
His name was Leonard Bernstein, and he continued the tradition, started by
Copland and Gershwin, of blending popular and serious styles
He is Jewish
Bernstein got his start in music at Tanglewood, where he became a protg of
the conductor and music patron Serge Koussevitsky
He was in demand by orchestras all over the world as a conductor
His conducting was manically energetic: he would throw his arms around,
shake his fists, twist and cavort
Sometimes he would leap into the air to express his excitement
But underneath the showmanship, there was a profound musical intelligence
His most successful musical, and his most famous composition, was West
Side Story, written in 1957
The score is brilliant, combining jazz, snappy dances, and moving lyricism
The vigorous dancing in West Side Story vitally reflected the tension and
liveliness of 1950s American streets
Bernstein doesnt just import jazz to make his music; he creates a score that
is highly original, expressive, and of the times
The whispered Boy, Boy, Crazy Boy employs dissonant rising tritons to
suggest an atmosphere that is both taut and cool
In his passionate commitment and his manifold achievements, Leonard
Bernstein personified American music for half a century
The ending of World War II was the turning point for the Western world
As societies struggled to recover from the enormous human loss and
destruction of the war, economies boomed, and a new optimism reigned
In the 1950s, Americans enjoyed a higher standard of living than ever before,
and in Europe, though recovery was much slower, gradual rebuilding and long
term prospects for peace led to increased hopes for the future
After the war, and especially the fortunate fifties and the radical sixties, the
arts flourished, and music entered the second stage of Modernism
This was a period of radical experimentation, expanding upon ideas set forth
in the first stage and marked by two opposing tendencies: extreme control
and complete freedom
The controls were established by a technique known as total serialism, which
we will discuss
The outer fringes of the freedom movement allowed performers to play
what they liked when they liked
Total Serialism
-
After the war, many other composers in several different countries began to
use the twelve-tone technique
But they felt that the original twelve-tone technique had not gone far enough
If pitches can be organized into a strict sequence, then why not do the same
with all the elements of music: dynamics, rhythm, tone quality, and so on
The Twelve-tone technique had sometimes been called serialism, because it
arranged the notes into a series; this new idea was therefore called total
serialism
The first composition based on total serialism was Structures I (1952) by the
French composer Pierre Boulez
In practice, the method is used with some flexibility
Each series (pitch, duration, etc.) can be applied independently
And the entire series can be used backward or forward, even with the pitches
transposed
The strange thing is that despite its strict and rigid compositional basis, the
music sounds more or less random
The number of organizing elements is so large that it is very hard to hear the
structure
Audiences found the style difficult and unappealing and deserted concert
halls in droves
But many composers felt that the music had its own validity, even if people
didnt like it
An important step for total serialism and for other experimental music was
the development in the late 1950s of electronic music technology
In the 1960s, the United States and Europe underwent profound change
The baby boomers grew to adulthood, and experimentation was in the air
It was a time of unprecedented freedom in the areas of sex, drugs, social
mores, and individual lifestyles
This openness to radical experimentation was reflected in the music
This was the era in which popular music began to overwhelm the music of
serious composers
New Sounds
-
Both total serialism and the use of block sound textures require very careful
control on the part of the composer
At the same time that these ideas were being explored, a completely
opposite tendency was prevalent in music
This was a move away from control, in the direction of freedom for the
performers, even to the point of leaving some musical matters to chance
Some scores have several pages of music for each of the performers,
allowing them to choose which page they want to play and when
Others simply indicate time durations and give very general instructions: As
high as you can, or Any sound repeated five times.
And some scores simply give rough drawings or sketches on the page,
abandoning musical notation altogether
John Cage (1912-1992) suggests that Everything we do is music
He invented the idea of the prepared piano with objects placed on the
strings inside the lid
He asked performers to throw dice and toss coins to determine which parts of
a composition would be played
He erased the boundaries between deliberate and random, between a
performance and a happening, between music and noise
His most famous composition was written in 1952 and is entitled 433
Postmodernism
-
During the latter part of the twentieth century, artists began to question the
continued viability of the Modernist movement
It had been unusually productive and long-lived: the feeling of innovation and
experimentation ad lasted from 1900 to the mid-1960s
Now some of its achievements were thrown into doubt
The meaning of art itself was no longer certain
Concert organizations turned more and more to presenting the classics of the
past
The twelve-tone system and its later refinements produced music that was so
arcane and unfriendly that few people enjoyed it
Young people turned increasingly to rock and other forms of popular music
Postmodernism has taken hold in music and the other arts from the mid1960s through today
Postmodernism is a style that juxtaposes many varied elements, especially
familiar ones, in new and interesting ways
Postmodernism has many facets
The most significant aspect of the movement is a deliberate return to the
past
In music, the return to the past was exemplified by a return to the language
of tonality, so resoundingly rejected for so many years
It was suggested that the main characteristics of tonal music a key center,
repetition, and return correspond to basic impulses in the human brain and
are therefore fundamental to human nature
This new look at tonality is known as neo-tonality, or neo-Romanticism
Postmodern Music
-
Fusion
-
Perhaps the most important aspect of the Postmodern era is the narrowing of
gaps between all types of music
One of the most fertile meeting places of the several worlds of music has
been the theater
Postmodernism created a strong revival of music theater in the 1980s and
1990s
Inclusion
-
In the last twenty or thirty years, women and minorities and musicians from a
far wider world have finally been taking their rightful palce in American music
making
On the whole, with significant exceptions, it has been a history of exclusion or
marginalization
One striking element of modern times has been the unraveling of this pattern
and the acceptance of women as full partners in the world of music
Olly Wilson, an African American composer who was born in St. Louis, Kaija
Saariaho, a Finnish composer, John Tavener, an English composer who was
born in a Jewish family and Osvaldo Golijov, from Argentina are examples of
inclusion
Conclusion
-
In the late twentieth and early twenty-first century, classical music was in a
lively but anxious state
Exciting concerts of new music were still being given, and the fusion of styles,
as well as the inclusion of formerly excluded voices, made the music more
interesting and of wider appeal
However a large number of classical music concerts even today are devoted
to much of earlier centuries
Many older people grew up in the fifties and sixties, when new classical music
was difficult and unappealing
These people turned backward for their musical, emotional, and spiritual
satisfaction
In the eighteenth century, almost all the classical music people listened to
was new music
They were interested in the latest Haydn symphony or the newest Mozart
opera, not in last years music, and certainly not in the music of several
hundred years earlier