- 20th century composers experimented with combining modern techniques with folk music from their home countries. In Eastern Europe, composers like Bartok and Prokofiev incorporated classical techniques and themes from Hungarian and Russian folk music respectively. - Bartok and Prokofiev made extensive use of polytonality, using two or more tonal centers simultaneously. An example is Prokofiev's Visions Fugitives. A group of Russian composers known as the "Russian Five" also infused folk themes into their works. - Composers experimented with electronic devices, musique concrete using recorded sounds, and chance music incorporating random elements. Pioneers included Varèse, Stockhausen, Cage

2.  A looser form of20th century musicdevelopment focused on
nationalistcomposers and musicalinnovatorswho soughtto
combine modern techniqueswith folk materials. However, this
common ground stopped there, for thedifferentbreeds of
nationalistsformed their own styles ofwriting.

5.  In EasternEurope,prominentfiguresincluded theHungarian
BelaBartokand theRussian SergeiProkofieff,whowere neo-
classiciststo a certain extent.
 Bartok infusedClassical techniquesinto his own brand ofcross
rhythms and shiftingmeterstodemonstratemanybarbaric and
primitivethemesthatwere Hungarian—particularlygypsy—in
origin.
 Prokofieffusedstrikingdissonances and Russian themes,and his
music wasgenerallywitty,bold,and attimescoloredwith
humor.

6.  Together with Bartok, Prokofieff made extensiveuseof
polytonality.
 Polytonality, a kind of atonality that uses two or more tonal
centers simultaneously.
 An example of this style isProkofieff’s Visions Fugitive.
 InRussia, a highly gifted generation of creative individuals
knownas the“Russian Five”

7. Modest Mussorgsky
MiliBalakirev
Alexander Borodin
Cesar Cui
NikolaiRimskyKorsakov
Infused chromatic harmonyand incorporated
Russian folkmusic and liturgical chant intheir
thematic materials.

9. -VISIONS FUGITIVE (Excerpt) Sergei
Prokofieff

10.  Music scholars predictthat the innovative and experimental developments of
20thcentury classical music willcontinue toinfluence the music ofthe21st
century.
 Withso manytechnical and stylistic choices open totoday’scomposers, itseems
there is no obstacle totheircreativityand tothe limitsoftheirimagination.
 And yet,this same freedom that has allowedsuch variedmusical experimentation
in recent yearshas also caused contemporary classical music—or music utilizing
the classical techniques ofcomposition—to lose touch withits audience and to
lose itsclearrolein today’s society.

11.  Presently, modern technology andgadgets put a great
impact on alltypes of music.
 However, what stillremains tobe seen is when this
trend willshift, andwhat the distinctqualitiesof
emerging classicalworks willbe.

13.  Thenewmusical styles createdby 20th century classical composers were truly unique
and innovative.
 They experimented with the elements of rhythm, melody, harmony, tempo, and
timbre in daring ways neverattempted before.
 Someeven madeuse of electronic devices such as synthesizers, tape recorders,
amplifiers, and the like to introduce and enhance sounds beyondthose available with
traditional instruments.
 Among the resulting newstyles were Electronic Musicand ChanceMusic.These
expanded the concept of music far beyond the conventions of earlierperiods, and
challenged both the new composers and the listening public.

15.  The capacityof electronicmachinessuch as
synthesizers, amplifiers,tape recorders, and
loudspeakersto create different sounds was given
importanceby 20th century composers like Edgar
Varese, Karlheinz Stockhausen,and Mario
Davidovsky.

16.  Musique Concrete, or Concrete Music- music that uses the tape recorder.
 . The composer records different sounds that are heard in the environment
such as the bustle of traffic, the sound of the wind, the barking of dogs, the
strumming of a guitar, or the cry of an infant.
 These sounds are arranged by the composer in different wayslike by playing
the tape recorder in its fastest mode or in reverse.
 In musique concrete, the composer is able to experiment with different
sounds that cannot be produced by regular musical instruments such as the
piano or the violin.

17. -SYNCHRONISMS NO. 5 (For Five
Percussion Players and Tape / Excerpt)
Mario Davidovsky

18.  Edgard (also spelled Edgar) Varèse was born on December
22, 1883.
 He was considered an “innovative French-born composer.”
 However, he spent thegreater part of his life and career in
theUnited States, wherehe pioneered and created new
sounds thatbordered between music and noise.

19.  The musical compositions of Varese are characterized by an
emphasis on timbre and rhythm.
 Heinvented theterm “organized sound,” whichmeans that
certain timbres and rhythms can be grouped togetherin
order to capture a whole new definitionof sound.
 Althoughhis complete surviving works are scarce, he has
been recognized to have influencedseveral majorcomposers
of the late 20th century.

20. Varèse’s use of new instruments and electronic
resources made himthe “Father of Electronic
Music”andhe was describedas the
“Stratospheric Colossus of Sound.”
 His musical compositions total around 50, with
his advances in tape-based sound proving
revolutionary duringhis time. He diedon
November 6,1965.

21. -POÈME ÉLECTRONIQUE

23.  KarlheinzStockhausen is a central figurein therealm of
electronicmusic.
 Born in Cologne, Germany, hehad theopportunity to meet
Messiaen,Schoenberg, and Webern, theprincipal innovators
at thetime.
 TogetherwithPierre Boulez, Stockhausendrew inspiration
from thesecomposers as he developed his style of total
serialism.

24.  Stockhausen’smusic wasinitiallymetwithresistance due toits
heavilyatonalcontentwithpracticallyno clear melodicor
rhythmic sense.
 Still,he continuedtoexperimentwithmusiqueconcrete.
 Someofhis worksincludeGruppen (1957), a pieceforthree
orchestras thatmovedmusicthrough timeand space; Kontakte
(1960), aworkthatpushedthe tapemachinetoits limits;and the
epicHymnen (1965), an ambitioustwo-hourwork of40
juxtaposedsongs and anthemsfromaround the world.

25.  Theclimaxofhis compositionalambitioncamein 1977when he
announced thecreationofLicht(Light),a seven-partopera(one for
each day ofthe week)foragiganticensembleofsolovoices,solo
instruments,solodancers,choirs, orchestras,mimes,and electronics.
His recentHelicopter String Quartet,, inwhich a stringquartet
performswhilstairbornein four differenthelicopters,developshis
long-standingfascinationwithmusic which movesin space.It has led
him todream ofconcert hallsinwhich the sound attacksthe listener
fromevery direction.Stockhausen’sworks totalaround 31. He
presentlyresidesinGermany.

28.  Refers to a style wherein the piece always sounds
different at every performance because of the
random techniques of production, including the use
of ring modulators or natural elements that become
a part of the music.
 Most of the sounds emanate from the
surroundings, both natural and man-made, such as
honking cars, rustling leaves, blowing wind,
dripping water, or a ringing phone.
 As such, the combination of external sounds cannot
be duplicated as each happens by chance.

29.  John Cage was known as one of the 20th century composers with the
widest array of sounds in his works.
 He wasborn in Los Angeles, California, USA on September 5, 1912 and
became one of the most original composers in the history of western
music.
 He challenged the very idea of music by manipulatingmusical
instruments in order to achieve new sounds.
 He experimented with what came to be known as “chance music.”

30.  In one instance,Cagecreateda “prepared”piano, wherescrews
and pieces ofwoodor paperwere insertedbetweenthepiano
strings toproduce differentpercussive possibilities.
 Thepreparedpianostyle foundits way into Cage’sSonatasand
Interludes(1946–1948),a cycle of piecescontaininga wide
range ofsounds, rhythmic themes,and ahypnoticquality.
 His involvementwithZen Buddhisminspiredhim tocompose
Music ofChanges(1951),writtenforconventionalpiano,that
employedchance compositionalprocesses.

31.  Cage also advocated bringing real-lifeexperiences into the concert
hall.
 This reachedits extreme when he composed a work that required
him to fry mushrooms on stage in order to derive the sounds from the
cooking process.
 As a result of his often irrational ideas like this, he developed a
following in the 1960s.
 However, he gradually returned to the more organized methods of
composition in the last20 years of his life.

32.  More than any other modern composer, Cage
influencedthe development of modern musicsince
the 1950s.
 He was consideredmore of a musicalphilosopher
than a composer.
 His conceptionof what music can and shouldbe has
had a profoundimpactupon hiscontemporaries.

33.  He was activeas a writer presentinghis musical views with
both wit and intelligence.
 Cage was an important force in other artistic areas especially
dance and musicaltheater.
 Hismusical compositions totalaround 229. Cage diedin
New York City on August 12, 1992.

34.  He became famous for his composition Four Minutes and 33
Seconds (4’33"), a chance musical work thatinstructed the
pianist to merelyopen thepiano lid and remain silentfor the
lengthof timeindicated by the title.
 Thework was intendedto convey the impossibility of
achieving total silence, since surrounding sounds can still be
heard amidst the silenceof the piano performance.

36. THANK YOU!!!