This slideshow covers the influence of primitivism, nationalism and neoclassicism on composers of the early to mid 20th century.

1. Primitivism, Nationalism, and
Neoclassicism

2. Primitivism
• Began as a movement in the visual arts to
depict nature, objects and people from a
non-traditional, non-Western perspective
• Emphasized so-called “primitive” cultures:
indigenous or aboriginal societies
• Musical primitivism emphasizes rhythm
and percussion over melody
• Irregular meters and harsh accents

3. Primitivism
• Unlike the visual arts, there are few major
works of music that exemplify primitivism
• Stravinsky’s Rite of Spring is one of the
preeminent works of primitivism and of the
20th century itself

4. Igor Stravinsky (1882 – 1971)
• Born in Russia and achieved fame with
three ballets: The Firebird, Petrushka, and
The Rite of Spring
• Moved to Switzerland then France due to
conflict in Europe, eventually settling in
the United States and becoming a citizen
• His compositional style evolves over the
course of his career

5. Stravinsky’s Stylistic Evolution
• Russian Phase
– Three famous ballets
– Primitivism evident in Rite of Spring (1913)
• Neoclassicism
– Made use of traditional genres (symphony,
concerto, etc.)
– Referenced composers of earlier periods
• 12-tone (serial) techniques in later works

6. Listening Example
• Title: Rite of Spring, Part I
• Composer: Igor Stravinsky
• Genre: Ballet

7. Notes on Rite of Spring, Part I
• Dominance of woodwind instruments
• Dissonant melodies
• Use of ostinatos (repeated patterns)
• Irregular beats, meters, and accents

8. 20th Century Nationalism
• Continued use of folk elements in music as
means of expressing national identity
• Greater emphasis on authenticity in folk
traditions utilized by composers
• Folk music as alternative to tonality
• Recording and study of folk music:
ethnomusicology
• Bartok was a pioneer in this field

9. Béla Bartók (1881-1945)
• He and Liszt are considered Hungary’s
greatest composers
• Extensive recording and study of Eastern
European folk music
• A pioneer in the field of ethnomusicology
• Emigrated to US due to opposition to Nazi
party and Hungary’s alliance w/Germany

10. Listening Example
• Title: Concerto for Orchestra,
Interrupted Intermezzo
• Composer: Bela Bartok
• Genre: Concerto

11. Notes on Concerto for Orch,
Interrupted Intermezzo
• Each section of instruments treated
soloistically
• Rondo-like form: ABA-interruption-BA
• A section features short, folk-like solo
passages for individual woodwinds
• B section quotes lyrical Hungarian tune
• C section features interrupted clarinet tune
parodied from “The Merry Widow”

12. Aaron Copland (1900-1990)
• Copland is the first American-born
composer we study (Brooklyn)
• Studied modern style in Europe but
adopted an accessible style upon his return
• The style was distinctly American and
based on American folk themes
• Best known for his three ballets in this
accessible, “populist” style

13. Copland’s Ballets
• Billy the Kid (1938)
• Rodeo (1942)
• Appalachian Spring (1944)

14. Listening Example
• Title: Rodeo, Hoedown
• Composer: Aaron Copland
• Genre: Ballet

15. Notes on Rodeo, Hoedown
• Famous opening theme based on American
folk tune “Bonaparte’s Retreat”
• Hoedown used in 1990’s beef council ad
campaign (“Beef, it’s what’s for dinner”)
• Clearly evokes cowboy dance – sounds
like soundtrack to a Western movie
• Very little dissonance relative to other
modern works

16. Neoclassicism
• Neoclassicism was a general trend rather
than an organized musical movement
• It stressed emotional restraint, traditional
forms, reduced performance forces, and an
avoidance of program music
• A reaction against post-Romantic excesses
• Neoclassicism was most relevant between
WWI and WWII

17. Dmitri Shostakovich (1906-1975)
• Soviet composer who achieved early fame
but also suffered political persecution
• Influenced by many styles, neoclassicism
being prominent among them
• Shostakovich was denounced twice by the
communist party, the first time in 1936 at
the beginning of “The Great Terror”
• Regained favor with his 5th Symphony

18. Symphony No. 5, IV
• Shostakovich composed this to obtain
political rehabilitation, and possibly also as
subtle commentary on the Great Terror
• The Soviet doctrine of socialist realism
demanded “heroic classicism”
• The 4th mvmt. is in simplified sonata form
– Starts with harsh march similar to 1st mvmt.
– 2nd section provides a quiet contrast
– Final section emphasizes brass fanfare