Music Civ II Final PDF

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Music Schoenberg, Pierrot Lunaire: “Valse de Chopin” (1912) 413  Free form like a slow waltz for chamber, modernism  Atonal layer of sounds  Inspired Stravinsky’s Rite of Spring  One of the most complex atonal works  Speech singing kinda with weird mix of tunes all playing something different Stravinsky, Rite of Spring: “Introduction” and “Dance of the Adolescents” (1913) 408  Free form for orchestra, modernist  Violent approach to rhythm and meter, meant to provoke a scandal  Changed rhythm frequently, very unlike the convention of Western music  You should know Smith, “Lost Your Head Blues” (1926) 466  Blues form  12- bar blues   I was with you baby when didn’t have a guy … dime Stravinsky, Symphony of Psalms, mvt 2 (1930) 423  Fugue with two subjects for orchestra, neoclassicism  The pslams are stated in a way that is similar to medieval chant  Work is meant to be an impersonal, collective offering to God  CEflatBD variation/repeating like exercise book; second part joins in with similar melody Ellington, Mood Indigo (1930) 471  Theme and improvised variations  Classic jazz composition  Reversed the normal roles of the trombone, clarinet, and trumpet  Begins with jazz piano, portillos vibe Still, Afro-American Symphony, mvt 3 (1930) 452  3 part Scherzo form for orchestra  American music  Brought together classical European concert hall and African American music.  Was one of the first symphonies to bring African American culture to life  You hated this Gershwin, Porgy and Bess, “Summertime” (1935) 457  Song first heard in the opera as a lullaby. Was an opera  Groundbreaking because ws the first opera to feature all African American performers  Also controversial because Gershwin wrote his own folk songs and spirituals for the work; controversial as a white composer to be replicating and appropriating this genre  Opera, violin intro Bartok, Music for Strings, Percussion and Celesta, mvt 3 (1936) 426  Symmetrical five part form for chamber orchestra, neoclassicism  Bartok combines his preference for symmetrical forms and unity of purpose with music that simulates Hungarian folk music. The movement connects to the entire piece through its systematic recall of materials from the first movement  Importance is its connection to Hungarian folk music in which Bartok recorded authentic folk songs around Romanic

 Xylophone taps, strings join in with weird wind like motion Shostakovich, Symphony No. 5 mvt 2 (1937) 439  Scherzo form, allegretto for orchestra, National style  Shostakovich was impacted significantly by the socialist realism which challenged his individual expression and censored his work  Socialist realism wanted an optimistic representation of Soviet life, which Shostakovich initially didn’t follow but eventually did to avoid punishment  This piece was a. more conservative work that was in line with Soviet expectations. It was also a response to the justified criticism of his earlier works, one of which (Lady Macbeth) was denounced by Stalin)  Cello starts then brass joins in Copland, Appalachian Spring, “Variations on Simple Gifts” (1944) 460  Theme and variations for orchestra; American music  Considered to be the piece that drove the direction of American music, Americanan and American nationalism  Emphasized US victory in the wars and won the Pullitzer prize after WWII  Music was based off of the music and culture of American subject in rural areas  Chill oboe with light strings in the back o Wispy feeling Parker, “Constellation” (1948)  Based on Gershwin’s “I got Rhythm”  First bebop piece, took a fast approach to Gershwin’s piece and was filled with improvisation  Very physically demanding piece  C major repeating; bebop very wild seems rushed, beating cymbol Bernstein, West Side Story, “Tonight” (1957) 488  Strophic song with spoken dialogue and orchestra  Exemplified speech singing, and was key to rise in popularity of musicals and music in musicals  “maria come down” Varese, “Poeme electronique” (1958) 499  Electronic music (recorded specific sound and manipulated them electronically to get different tones)  Vareses used to piece to show that he could make music out of any and all sounds  Warbling in a metal tunnel Davis, Bitches Brew, “Miles Runs the Voodoo Down” (1970) 477  Free improvised then edited later in the studio with a strong emphasis on the rhythm section and electric instruments  Fused jazz and rock to form jazz rock o This combination allowed for a wide variety of rhythm sections and tone colors o Some hints of bebop  Drums snare and cymbol; warbling saxophone Williams, “Imperial March” from The Empire Strikes Back (1980) 483  Militaristic march driven by percussive rhythmic patterns and built around a central theme (leitmotif)

Established the p[popularized of film music and importance of having a soundtrack connected to the film; could not have Star Wars without this Adams, Short Ride in a Fast Machine (1986) 510  Post-minimalism work  Like a train Gubaidulina, Violin Concerto No. 2, opening (2007) 514  Like an autobiographical work showing her struggles with the Soviet Union during her youth (violin is pitted against the orchestra) and her eventual ricse to indivudal freedom and away from totalitarian rule  Allows has a spiritual element in the music and uplifting quality that transcends the here and now  Shows usic’s ability to share a story  F#G, violin solo o Red cape tango 

Modernism: broad movement of striking experimentation in the arts originating in the early 20th century and reacted against the late 19th century ideas. Self-conscious search for new and alternative ways to express ideas and emotions in art. It was not a distinct style and was marked by an expressed break from traditional European aesthetics, so it rejected the values of late 19th century Romantics and Realists. Valued novelty. An example would be Schoenberg’s use of expressionism in his art. Atonality: developed by Arnold Schoenberg around 1908 and is music written without a key center. Embraced dissonance and crunchy sounds. Arnold’s use of atonality was similar to the expressionist movement in German art which exaggerated extreme, subjective emotions. EXAMPLE Twelve-tone Method: developed in the 1920s by Arnold Schoenberg that imposed order in atonal music. Notes were organized into tone row, or series, to achieve an equal use of all 12 pitches. A tone row was a fixed sequence of 12 chromatic pitches that were used methodically before one was repeated; one would climb from one octave to another through 12 separate tones. EXAMPLE Serialism: 20th century technique involving a composition based on series or ordering of pitches. Composers organized aspects of music such as rhythm, dynamics, and register and sometimes used a systematic use of numerical systems to determine the building blocks of music. Music became more like an algorithm. Messiaen was one of the first to experiment with this style in the 1940s by structuring non-pitch elements into his compositions. Boulez controlled non-pithced elements in his Le Marteau sans maître work in 1955. Gamelan: musical ensemble from Java or Bali that uses gongs, drums, chimes, and metallophones. Debussy first heard this form in Indonesia and they used non-Western scales like pentatonic scales. This exotic music had idiosyncratic rhythmic patterns. Debussy’s Parodes was inspired by Javanese gamelan and only used percussion sounds and 5-7 note scales. Neoclassicism: music developed and popular around the 1920s-1940s that uses 19th century musical techniques. It describes the idea of a revival of Pre-Romanticism, Classical and Baroque ideas and reusing their elements of style in modernist contexts. While they used forms from PreRomantic periods, the harmonies remained modern. An example is Stravinsky’s Rite of Spring. Anthropophagy: study of human societies and cultures and their development. Explored significantly in Latin American modernism, although the movement was similar to that of

Europe. Composers with street music background in Latin American integrated classical, European ideas into their music. Heitor Villa-Lobos focused on Brazilian culture in his pieces and composed Bachianas Braileiras with themes from Brazilian folk music. Harlem Renaissance: period from around 1918 to the mid 1930s characterized by a cultural revival of African American music, literature, and art centered in the Harlem neighborhood of NYC. But it’s influence reached beyond NY and was also strong in Paris due to immigration and cultural exchange. The central music traditions included blues, jazz, and spirituals. An example of a piece written during this period and had themes of the movement was Still’s Afro American Symphony Spirituals: a type of religious folk song cultivated by African Americans in the 19th century and was a type of religious folk song cultivated in American revivalist meetings during the 18th and 19th centuries. William Still brough African American song spirituals to light and showed the Christian values and lives and struggles of slavery. Gershwin did the same for his opera Summertime but was met with criticism as he was a white man, writing his own folk songs and spirituals for the work. Blues: a variety of African-American popular music featuring texts of laments and a standard harmonic pattern. Songs were about misery and oppression and chronicle every sort of misfortune. A specific example called country blues were performed by musicians living and working as sharecroppers. Bessie Smith was a popular blues singer and his “Empress of Blues” was popularized blues for urban audiences. Jazz: Late 19th century and 20th century African-American music characterized by an improvisatory melodic style with strong rhythmic and harmonic organization. The music was brought to America by slaves and was transformed into a dynamic music and was passed on orally from generation to generation. Since jazz was mostly improv, it was constantly reinventing itself Bebop: a style of jazz developed in the 1940s and 50s that featured explosive rhythmic patterns and small ensembles. It deviated away from the smooth big band sounds. Performers did not really need to know how to read music to play this style although the style is technically demanding so it easily excluded musicians that can’t keep up with the fast pace. An example is Charlie Parker’s Constellation. Chance music: Post WWII music in which elements of chance determined the shape or structure of a composition. By the 1960s, this style was known as an innovative movement to be reckoned with. Was opposite of serialism which wanted total control of their music. An example is Cage’ 4’3’’ which is just silence but also not silence as the sounds of the recordings had so much variability for each “performance” Minimalism: a musical style that developed in the 1960s from a related movement in the visual arts and uses repetitions of short musical figures to construct compositions. The works begins with scraps of material (like a short motive, triad or phrase) and repeats it with a regular pulse to build up an entire composition. An example is Terry Riley’s In C. Performers decide when to move on to the next motive and the performance ends when all motives have been played. Postminimalism: a style that employed some techniques of minimalism but also seeks other alternative to questions of musical form and structure. Developed by John Adams around the mid-1980s as a reaction against twelve-tone rows in serial compositions and embracement of minimalist techniques. An example is his Harmonielehre in 1985. Soundtrack:

Postmodernism: a broad movement in the arts during the late 20th century that departed from modernism and freely mixed different styles. Composers like George Rochberg began to return back to tonality in the 1960s and 70s to protest the dehumanizing tendencies of modern technology and sciences. Tonal music made a come back during this time. Others began to use quotations from Classical nad Baroque works in modern works to make music more accessible to audiences. An example is Berio’s Sinfonia written in 1969 which uses the Scherzo of Mahler’s Second Symphony. Readings Craft, Visions in Music  Background on Rite of Spring  Before turning it into a ballet, Stokowski said he wanted the production to not be so Russian, because he though the ideas and feeling it expresses were universal  Stravinsky wanted his work to give the feeling of closeness between men and the earth  Piece was really about people living in nature and their daily lives too  Convolute chronology  Entire process to make the ballet was tough, lots of challenges  Men correlate with timpani and bass notes; women with high woodwinds  Folk tunes of the flutes and clarinets gives the gentle interlude for “Spring Rounds”  Balanchine said that Rite is not a ballet because the choreography cannot produce images to accompany Stravinsky’s music Kandinsky, Concerning the Spiritual in Art  Every work of art is a mother of our emotions; we put our emotions into art  Follows the culture and age of the era and can’t be replicated; we can’t travel in time to repeat old art forms and live like the past  When we feel the same emotions we’ve felt in the past, we might revie external forms that express the feelings from an earlier time  Materialism bad  For today’s art to resemble those of the past: o Be purely external and thus have no future  Better to revie the external forms that can express inner feelings from an earlier age o Be purely internal and contain the seeds of the future within itself Bartok, The Influence of Peasant Music on Modern Music  Folk music has always influenced art music (pastorals and musettes)  Viennese classical composers were influenced a lot by folk music  But now, “national” composers were the one to start this folk music influence o They disliked the excesses of Romanticists and felt it was unbearable o Turned to peasant music  Peasant music: right type is most varied and perfect in its forms o Expressive power, sentimentality, superfluous ornaments, primitive not silly o Great for composer who wanted to pieces that can’t be led by a better master  Composer went to the country to write stuff (Hungarian)  Bartok feels that peasant music can’t be deep and permanent unless this music is studied in the county as part of a life shared with the peasants; must have first person accounts

People were shook that trained musicians could study other people and make songs out of them  Composers took ideas from the people they met and turned those experiences into music  Simpler melodies are freer; more things can go with it Arendt, Europe and the Bomb  Before consider US to be the goal standard for tech development, Western  After bombing, thought US tech was all destructive and hostile, now more non-European o Ironic because the development of that bomb was due to Europeans coming to US to help build it  Europeans are scared of US o Now associated US atomic bombing with a fear of their political power and their improvements in modern technology that can destroy o Calming factor: atomic energy is in the hands of the American republic and will only be used for defense or retaliation  But how can you be sure? Especially with freedom Cage, Experimental Music  Cage object to people saying his music was experimental in the past because the thought that most compsoers knew what they were doing and experiments occurred before working on a piece  Now accepting of it as music has changed; describes all music that interests him as experimental o Others use the word controversial or question if its music o This new music: can only here sounds; some notated and others are not o Sounds of the environment can become music o Much more openness and freedom  Exp: glass houses by Rohe show a reflection of the environment which becomes part of the work  No such thing as empty space or empty time; emptiness is part of the work  Impossible to make silence  Can manipulated sound with pitch, volume, timbre, duration, and morphology  If one wants full control of sound, he can compliate his musical technique  Just be attentive to the activity of sounds Mellers, Singing in the Wilderness Andrade, Anthropophagite Manifesto  Oswald de Andrade wrote Cannibalist Manifesto  Brazilian cultural production becomes both native and cosmopolitan o Brazil’s wild wilderness will give rise to candid modern poetry  Oswald developed MA as a radicalization of cannibalism o He challenged the dualities of civilization/barabarism, modern/primitive, original/derivative  Cannibal metaphor permits the Brazilian subject to forge his specular colonial identity into an autonomous and original national culture  These manifestos continue the creation of Brazilian national culture but also comes out as controversial writings with much to reveal about the colonialist thought and problems of finding an identity post-colonialism Locke, The Negro Spirituals 

Locke was the first African American Rhodes Scholar Known for his theory of cultural pluralism Traveled to Egypt for his anthropological works to discover various African contributions to Egyptian civilization  The New Negro est Harlem Renaissance o Published as an anthology to showcase black writers  Also critic and collector of black visual art and a scholar of black folk music  Spirituals are the most characteristic product of the race genius in America o The expressive ideas that makes it unique and representative of the soil that produced them o Have a universality of appeal; assure an immortabiltiy of those great folk expressions that survive for being typical of a group and representative o Have been passed down for ages and have not lost their touch  Folk art seems to always be hated and rejected at first but comes back generations later  Lacks style but not the sublime effect  Primitive but their emotionally artistry is perfect Feldman, Give my Regards to Eighth Street Oliveros, Some Sound Observations  Oliveros adheres to the sounds of herself and his environment  Lots of variability  What does an electronic musician play on?  Very aware of the medium of the sound, but in a different way o Outside, sounds are attended by insulation o Piano piece resonates in the concert hall differently than from a recording  One’s ide of music can change if they listen to the piece fast forwarded or slomo  Our ears are less sensitive to high and low pitches Reich, Postscript to a Brief Study  Becoming more possible to learn how to play more ethnic music from native teachers with the help of recordings and live performances o Western musicians can approach non-Western music as his own and learn it from a qualified teacher o (is this controversial?)  Studied African drumming vs Indian drumming  Composed piece that mixes Balinese and African music but using downbeats that don’t always coincide  But what can a Western composer do with this knowledge of non-Western music? o Seems to be a fear of appropriation; feels not great composing  Most end up here  Use own instruments and make it sound like non-Western ones  Or use non-Western instruments in one’s own music  Imitating sound of non-Western music leads to exotic music Lendino, Scoring for the Modern Computer Game  Successful soundtrack is to adapt the music to matche vents that occur on screen  Event-driven music allows for certain music sequence to transition into one or more other sequences at any point in time   

Composer must work with game developers from the beginning to integrate the sounds with the game better  Music must come first Graham, How the Pulitzer Jury Chose Kendrick Lamar’s DAMN ...