MUS 3032 Dr. Wallace Southeastern Oklahoma State University

1. CHAPTER 31
Lecture Slides
A History of
Western Music
TENTH EDITION
by
J. PETER BURKHOLDER
DONALD JAY GROUT
CLAUDE V. PALISCA
© 2019 W. W. Norton & Co., Inc.

2. MODERN TIMES 1889-1918
“Long nineteenth century” - French
Revolution to start of World War I
• four decades of relative peace
• greater global interconnection, accelerating
innovation in science & technology
• New technologies
• electrification of industry, businesses, homes
• 1908 Model T, first widely affordable automobile
• 1903 first working airplane, Wilbur and Orville
Wright
• new technologies in music: player pianos,
phonographs
• moving pictures, theatrical entertainment with
musical accompaniment

3. Economy and social conflicts
• growth of industry: expanding economy, rapidly growing cities
• nostalgia for the countryside: Tin Pan Alley songs, Mahler symphonies
• economic inequalities, labor unions organized
• inspired social reformers
• aroused revolutionary movements in Russia
• international trade increased, European nations grew rich
• great powers competed for dominance - culminated in World War I
• United States emerged as a world power rivaling Britain, Germany
• rapid economic development led to social conflict
• immigrants stream to United States
• African Americans moved from the South to large northern cities
• segregated neighborhoods, black urban culture developed
MODERN TIMES 1889-1918

4. • Art work or music is appreciated for its own sake
• success measured by intellectuals, fellow artists
• search for new, unusual content, techniques
• Symbolism: intense imagery, disrupted syntax; suggest feelings, experiences
• Impressionism: named after Monet’s painting Impression: Sunrise (1872)
• atmosphere, sensuous impressions from nature, detached observation, capture an
instant in time, blurred reality
• attention on overall impression
• Cubism - three-dimensional objects on a flat plane, geometrical shapes,
juxtaposed, overlapped; active, colorful design
• Modernism - new ways of making, seeing, thinking, including impressionism,
cubism, expressionism, surrealism, abstract art
• Modern art was paralleled in music
THE ARTS IN MODERN TIMES 1889-1918

5. MODERN TIMES 1889-1918

6. EARLY 20TH CENTURY: VERNACULAR MUSIC
• Vernacular music – ”ordinary, everyday music such
as popular and folk music. It is defined partly in terms of
its accessibility, standing in contrast to art music.”
• impact of recordings preserved much more vernacular
music and gave it a lasting importance
• permanence of much vernacular music rivals classical
music
• some become classics in their own traditions
• Vernacular music influenced composers in the classic
tradition
• United States became leading exporter of music to the
world
• Popular songs and stage music sold as sheet music,
recordings
• Tin Pan Alley was in its heyday

7. EARLY 20TH CENTURY: VERNACULAR MUSIC
• Revues - centered around song, dance numbers, flashy costumes
• Operetta tradition continued - The Merry Widow (1905) by Lehár,
Babes in Toyland (1903), Naughty Marietta (1910) by Victor
Herbert
• Musicals: significant new genre featuring songs, dance numbers
• styles from popular music, context of spoken play, comic or romantic
plot
• New York theater district on Broadway, main center for musicals
• distinctive American style inaugurated

8. Music for silent films
• until late 1920s, films
accompanied by live music
• role of music - covered
noise of projector,
provided continuity,
evoked moods, marked
dramatic events
• music accompaniment by a
pianist or organist,
improvised, played
excerpts from memory
• larger theaters, small to
medium-sized orchestras
• film music influenced by
opera, operetta
EARLY 20TH CENTURY: VERNACULAR MUSIC

9. EARLY 20TH CENTURY BAND MUSIC
Band music
• military origins, amateur wind band traditions remained strong
• bands in colleges, schools, sporting events, concerts
• Sousa’s band toured, pioneer in phonograph recordings
• concert repertoire
• few original pieces written by major Classic, Romantic composers
• core repertoire emerged in early twentieth century
• Suites No. 1 in E-flat (1909) by Gustav Holst (1874–1934)
• Irish Tune from County Derry (1917), Lincolnshire Posy (1937), by Percy Grainger
• English Folk Song Suite (1923), Toccata marziale (1924), by Ralph Vaughan
Williams (1872–1958)
• composers drew on folk songs, used modal harmonies, symphonic-style
instrumentation

10. AFRICAN AMERICAN TRADITIONS
Ragtime
featured syncopated (“ragged”) rhythm, regular marchlike
bass, popular 1890s–1910s
• derived from manner of improvising, “ragging”
• today known as piano style
• cakewalks introduced syncopation - couples dance,
derived from slave dances
• printed without syncopation until 1897
• 1897, instrumental works called “rags” published
• cakewalks, rags among best-selling instrumental music
Ernest Hogan actually invented Ragtime before Scott Joplin
...Joplin just became the King

11. Scott Joplin (1867–1917),
leading ragtime composer
• son of a former slave, studied music in Texarkana, Texas
• moved to New York in 1907
• School of Ragtime, études published 1908
• Treemonisha opera published in 1911, most ambitious work
• regarded his piano rags as artistic works on level of European
classics
• Maple Leaf Rag (1899), by Scott Joplin
• mixture of European and African elements
• rhythmic elements, repetition of short rhythmic pattern traced to
African music
• musical form, left hand pattern, harmony, derived from European
sources
AFRICAN AMERICAN TRADITIONS

12. Early jazz
• 1910s, development of jazz, African American roots
• mixture of ragtime, dance music, elements of the blues
• New Orleans was the “cradle of jazz”
• slaves allowed to gather in public before emancipation
• close connection to Caribbean, Haitian, Cuban, Creole rhythms mixed with European
styles
• small ensembles - trumpet, clarinet, trombone, tuba, snare and bass drums
• 1913–1918, New Orleans Jazz Band popularized term “jazz”
• The term “jazz”
• style first known was New Orleans style ragtime
• “jazz” performances in Chicago, New York
• manner of performance
• players made arrangements of popular early pieces
• Maple Leaf Rag (1938 recording), played by Jelly Roll Morton (1890–1941)
• swinging rhythm, many added grace notes, enriched harmony
• classical composers introduced elements of ragtime, jazz
• Debussy, Ravel, Satie, Stravinsky, Ives, Milhaud
AFRICAN AMERICAN TRADITIONS