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EXTENSION OF EARLIER TRADITIONS:
-Impressionism: French style of music that began with painting--
color is important, they fade into one another. Timbre andcontour
are melded, gives a fleeting glance
-Debussy(Fr.! "ntered #aris $onserve at %&, hated to be
called an impressionist, 'a er, )mages-*avel(Fr.! Daphnis et $hloe
+uite o.
-Neo-Classicism: return to old ideas characteri/ed by
%0thcentury music! bustle, clear pulse, clear melodies in one
section,very con1unct, clear cadences
-+travins2y(*us.! usically influenced by his father, studied
with *ims2y-3orso2ov, neo-classicismcame later in his compositional
life. #ulcinella +uite
-*avel(Fr.! 'e Tombeau de $ouperin-#oulenc(Fr.! 4egan piano at
5, heard *ite of +pring at %6. +maller ensembles, melodic
emphasis,dis1unct lines but they don7t really sound it. $oncerto
for organ, strings.-8indemith(9.! "arly:late stage of his
career;used intentional composition in the middle. athis der
aler.
-Mainstream/Conservative: $ontinuing what was occurring in %ery
transitional, not sudden. +ymphony o. in c minor;long phrases, use
of all instruments.-+trauss(9! ?oung piano player at 6, composer at
@. Father was musician. 3nown for tone poems and operas,
veryprogrammaticA Death and Transfiguration-ilhaud(Fr! +tudied in
4ra/il for two years, large 1a//:latin influence. 'e +i= B scandals
with The 4ull on the*oof. 'a $reation du onde- sa=ophone
includedA-4arto2(8ung! >irtuoso pianist, didn7t really have
signature style. i2ro2osmos:string Cuartets were pedagogical,very
into fol2 songs. +tring uartet o. 6-+hosta2ovich(*us!'eading
*ussian composer, %5 symphonies with a lot of political:personal
conte=t in subtitle.
$onstantly in trouble with #*>D. +ymph 5.-#ro2ofiev(*us!
Travelled outside of *ussia, not as much gov clashing as +hosty.
?oung composer, some traces ofneo-classicism. +ymph 5-$opland(E+!
+on of ewish immigrants, studied with adia 4oulanger. $lassic
merican sound with 1a//:latin)nfluence. #iano
>ariations:ppalachian +pring-4arber(E+!Gon two pulit/er pri/es,
had no particular style but composed reflecting upon what he
wasdoing:reading. #iano $oncerto Hp. I0-9ershwin(E+! 'ived in
4roo2lyn and began career as song plugger, wrote first musical (Hf
Thee ) +ing and died ofa brain tumor. #rolific for his short life.
merican in #aris.-4ernstein(E+! ppointed music director of ? #hil,
used both popular music and art music, and large advocate forthe
arts. $hichester #salms.->aughn Gilliams("! Foremost "nglish
composer, studied orchestration with *avel. "dited ew "nglish
8ymnal BH=ford boo2 of carols, < symphony syndrome.-Galton("!
$hoirboy and student at H=ford, e=plored many different styles
including % tone but stayed tonal.+ithwell family important for JJA
4alsha//ar7s Feast.
-4ritten("! #rimarily choral wor2s, songs, and operas. any
different influences. Flair for the dramatic, +erenadefor Tenor,
8orn, and +trings.
EXPERIMENTAL:
-Multimedia/Performance Art:Theatrical art with multi-media.
4egan with Dadists:Futurists in early & c. ore popular
inK&s and 0&s.
-'aurie nderson(E+! Esed many many mediums of performance, came
up with her own instruments:devices.inimal style with a lot of
repetition, but tells stories in her songs.
-Indeterminacy: The idea of leaving certain aspects in music to
chance, either by the composer or performer.-ew ?or2 +chool! ohn
$age, orton Feldman, $hristian Golff, "arle 4rown, David Tudor.-$an
change pitch, timbre, structure, durations, dynamics
-Futurism/Dadism:ovements of forward thin2ing beginning in
France and +wit/erland in the %iolin $oncerto.
-!erialism:
-essiaen(Fr!)nterested in going a new musical direction. 4roadly
falls under serialism, more seriali/ed later in life.dded value
rhythms, augmented:diminished rhythms, birdsongs, very colorful.
uartet for ".H.T.
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-4oule/(Fr! )nterested in both math and music. +tudied music,
thought that composition should be analytical,interested in
structures. +et up )*$ in #aris, was a conductor. 'e arteau +ans
aitre.-+toc2hausen(9! +tudied with essiaen and then branched off
into cra/y town (religion. o standard ensemblegroupings, into
electronic music, points of color are important. 9esang de
unglinge, My2lus.-4abbitt(E+! Grote for the sa2e of writing, not
for any particular en1oyment of the audience. $ompletely
seriali/ed.ever considered emotions, only analytical side. Three
$ompositions.
NEW SOUND RESOURCES:
-Instrument "#ploration:
-$owell(E+!+elf-taught musician, supported )ves7 music who
funded his e=periments. "=perimented with the pianobefore $age did.
ost important innovator b:t )ves B $age.-#artch(E+!
)nstrument-ma2er who created his own 6I-tone scale. >ery
individualistic, created the boo, cloudchamber bowls, /ymo-/yl,
ma/da marimba, and adapted the viola and guitar by lengthening
fingerboard.-$age(E+! +HED )+ +)'"$":'' *HED E+. $reated a
percussion ensemble, was very accessible to youngcomposers, used
prepared piano and valued the noise, not the pitch. )nnovated
through the ages. +onata:interludes-4erio()t! 4egan to view
instruments timbrally, used a whole ton of e=tended techniCues.
#iano taught by dad:gpa.$onnected with $athy 4erberian. +eCuen/as,
+infonia.-$rumb(E+!u=taposing contrasting musical styles, hand
notated all of his scores. Grote amplified string Cuarted aswell as
ncient >oices of $hildren-#enderec2i(#ol! #ianist who had no
understand of Gestern musical world. 8e used e=periments in
notation, time,and instrumental techniCues. Threnody for
8iroshima.-'igeti(*om! Gor2ed for an electronic music studio in
$ologne and used very thic2 sound clusters. >ocal and non-vocal,
'u= terna and tmospheres.
->arese(Fr! Grote pieces with unusual names and had very
repetitive motives, also was into electronic music.)ntegrales,
#oeme "lectroniCue-"lectroacoustic:
-usiCue $oncrete! found sounds, began in France. "urope was the
hot spot for all electronic music to begin withand was supported
fully by the governmentA-$lassical "lectronic usic! all sounds are
electronically generated, started in 9ermany. 3H' with
+toc2hausen.-+ynthesi/er:$omputer usic! self-contained electronic
system where wave is generated, modified, and organi/ed inreal
time.
BACK TO TONALITY:
-$uotations:-)ves(E+! Gor2ed in both insurance and music, was
very rich and used that to fund pro1ects of others. "ventually
gotburnt out and stopped composing all together. #rolific, comple=,
popular songs. #iano +onata, ew "ngland #ieces.
-Minimalism:
-*iley(E+! Gor2ed in +an Francisco Tape $enter, did all-night
concerts w: tape loops. 4egan minimalism with )n $.
-*eich(E+! Focused on ensemble of the same 2ind, minimalist
composer who also studied drumming in frica.Drumming: $lapping
+ong.-9lass(E+!( +tudied with adia 4oulanger, was interested in
operas about men who could change the world. )slands.-dams(E+!
4egan as minimalist, but moved away from it as he aged. $omposed
6&N +wing as well as an operaabout #resident i=on going to
$hina.
-Ne% !implicity/&oly Minimalism:
-9orec2i(#ol! Hvershadowed by other composers of his
nationality, his music became big after the 4erlin Gall camedown.
+ymphony o. I-#art("stonian!*ecieved government critiCue for his
wor2, pushed bac2. *ussian Hrthodo=y was his religion, usedopen
intervals. Tintinnabuliation. Te Deum-Taverner("! +tudied piano,
organ and compostion O *oyal cademy. et *ingo +tarr B ohn 'ennon.
Eses chant-li2e melodies.
JAZZ:
