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20 th  Century ,[object Object],[object Object]
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20 th  Century ,[object Object],[object Object],[object Object]
Whatcha hearing? ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Quick Clicks ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
My Quick Notes ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Links ,[object Object],[object Object],[object Object],[object Object]
My Quick Notes #2 ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The “-ism”s ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Part VI: The Twentieth Century and Beyond p277
Time Line Freud:  Interpretation of Dreams 1900 Einstein: special theory of relativity 1905 First World War 1914-1918 Russian Revolution begins 1917 Great Depression begins 1929 Hitler appointed chancellor of Germany 1933 Second World War 1939-1945 Atomic bomb destroys Hiroshima 1945 PART VI—THE TWENTIETH CENTURY AND BEYOND
Time Line Korean War   1950-1953   Crick & Watson: structure of DNA   1953 Vietnam War   1955-1975 President Kennedy assassinated   1963 American astronauts land on moon   1969 Dissolution of the Soviet Union   1991 Mandela elected president of South Africa  1994 Terrorist attacks in U.S.   2001 War in Iraq began   2003 PART VI—THE TWENTIETH CENTURY AND BEYOND
Twentieth-Century Developments ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],PART VI—THE TWENTIETH CENTURY AND BEYOND
Twentieth-Century Developments ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],PART VI—THE TWENTIETH CENTURY AND BEYOND
Twentieth-Century Developments ,[object Object],PART VI—THE TWENTIETH CENTURY AND BEYOND ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Twentieth-Century Developments Summary: ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],PART VI—THE TWENTIETH CENTURY AND BEYOND
Chapter 1: Musical Styles 1900-1945 ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 1
Key, pitch center, and harmonic progression practices of the past were mostly abandoned ,[object Object],Chapter 1
[object Object],1900-1945: An Age of Musical Diversity ,[object Object],Musical influences drawn from Asia and Africa Folk music incorporated into personal styles ,[object Object],[object Object],[object Object],[object Object],Chapter 1
[object Object],[object Object],[object Object],Chapter 1
Characteristics of Twentieth-Century Music Tone Color Unusual playing techniques were called for Percussion use was greatly expanded ,[object Object],[object Object],[object Object],[object Object],Chapter 1
[object Object],[object Object],[object Object],[object Object],Chapter 1
Harmony Consonance and Dissonance Harmony and treatment of chords changed ,[object Object],[object Object],[object Object],Chapter 1
New Chord Structures Polychord Quartal and quintal harmony Cluster Chapter 1
Alternatives to the Traditional Tonal System Composers wanted alternatives to major/minor ,[object Object],[object Object],[object Object],Chapter 1
[object Object],Another approach: use two or more keys at once Atonality ,[object Object],[object Object],Twelve-tone system ,[object Object],Chapter 1
Rhythm Rhythmic vocabulary expanded ,[object Object],[object Object],Chapter 1 Listening Guide: p. 300  Brief Set CD 4:22
Rhythm Rhythmic vocabulary expanded ,[object Object],[object Object],[object Object],Chapter 1 Bartok:  Six Dances in Bulgarian Rhythm
Rhythm Rhythmic vocabulary expanded ,[object Object],[object Object],[object Object],[object Object],Chapter 1
Melody Melody no longer bound by harmony’s notes Major and minor keys no longer dominate Melody may be based upon a variety of scales, or even all twelve tones ,[object Object],[object Object],[object Object],Chapter 1
Ch 2: Music & Musicians in Society ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 2
[object Object],Modern composers alienated audience ,[object Object],[object Object],[object Object],African-American composers and performers became more prominent Chapter 2
Some governments controlled their music – WHY? ,[object Object],[object Object],[object Object],[object Object],[object Object],American jazz and popular music swept the world Universities supported modern music and composers—became music’s new patrons Chapter 2
Copyright/Publishing ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The “-isms” ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 3
Ch 3: Impressionism & Symbolism ,[object Object],[object Object],Chapter 3
Impressions: Sunrise – Claude Monet, 1872
[object Object],French Impressionist Painting Used broad brush strokes and vibrant colors ,[object Object],Focused on light, color, and atmosphere Depicted impermanence, change, and fluidity ,[object Object],Style named after Monet’s  Impression: Sunrise Chapter 3
French Symbolist Poetry Symbolists also broke with traditions and conventions Avoided hard statements—preferred to “suggest” (symbolize) their topics Wikipedia: expressed “ thoughts and feelings in disconnected ways” Symbolist poetry became the basis for many Impressionist musical works Chapter 3
Chapter 4: Claude Debussy ,[object Object],Crossed the romantic and twentieth-century eras (1862-1918) Studied in Paris and Rome Influenced by Russian and Asian music Lived large; liked luxury, but stayed in debt Chapter 4
Debussy on YouTube ,[object Object],[object Object]
Debussy’s Music ,[object Object],Attempted to capture in music what impressionist painters did in visual art Titles imply a program-music approach Used orchestra as pallet of sounds, not  tutti Expanded harmonic vocabulary and practice ,[object Object],Obscured harmony, tempo, meter, and rhythm Chapter 4
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 4
Chapter 5: Neoclassicism ,[object Object],Based new compositions upon devices and forms of the classical and baroque ,[object Object],Preferred to write for small ensembles Sounded modern, not classical “ Back to Bach” Eschewed program music for absolute ,[object Object],Chapter 5
Chapter 11: B é la Bart ó k p318 ,[object Object],Taught piano in Hungary, wrote  pedagogy  books Like others, fled Nazis and came to live in the US Used folksongs as basis of his music ,[object Object],Chapter 11
Bartók’s Music Best known for instrumental works ,[object Object],Compositions contain strong folk influences Worked within tonal center ,[object Object],Chapter 11
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 11
Primitivism ,[object Object],[object Object],[object Object]
Chapter 6: Igor Stravinsky ,[object Object],Studied with Rimsky-Korsakov Early success writing ballet music ,[object Object],Moved due to the wars ,[object Object],Chapter 6
Stravinsky’s Music Utilized shifting and irregular meters Vocal and instrumental—many styles and forms Frequently used  ostinato ,[object Object],Chapter 6
Listening ,[object Object],[object Object],Part I:  Introduction Listening Outline: p. 302 Brief Set, CD 5 Part I:  Omens of Spring —Dances of the Youths & Maidens Listening Outline: p. 303 Part I:  Ritual of Abduction Listening Outline: p. 304 Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance) Chapter 6
Listening ,[object Object],[object Object],Part II:  Sacrificial Dance Listening Guide: p. 304 Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance) Chapter 6
Chapter 7: Expressionism p304 ,[object Object],Used deliberate distortions ,[object Object],[object Object],The Scream,  Edvard  Munch , 1893
Direct outgrowth of the work of Freud Rejected “conventional prettiness” ,[object Object],Art also seen as a form of social protest ,[object Object],[object Object],[object Object],Chapter 7 The “Gang of Three”: Shoenberg, Berg, Webern
Chapter 8: Arnold Schoenberg ,[object Object],First to completely abandon the traditional tonal system ,[object Object],Schoenberg was Jewish; when the Nazis came to power, he was forced to leave; came to America ,[object Object],Chapter 8
Schoenberg’s Music ,[object Object],[object Object],Atonality The Twelve-Tone System ,[object Object],[object Object],Chapter 8
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 8
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 8
Chapter 9: Alban Berg ,[object Object],Student of Schoenberg Wrote atonal music Due to ill health, did not tour or conduct ,[object Object],Most famous work is  Wozzeck ,[object Object],Chapter 9
Listening ,[object Object],[object Object],Act III: Scene 4 Listening Guide: p. 329 Basic Set, CD 7:32 Wozzeck, the soldier, returns to the scene of the crime to dispose of his knife Note: Sprechstimme   Atonal   Expressionist subject matter Chapter 9
Listening ,[object Object],[object Object],Act III: Scene 5 Listening Guide: p. 329 Basic Set, CD 7:40 Marie’s son (Wozzeck’s stepson) and other children are playing. Another group of children rushes in saying they have found Marie’s body. As all the children go to see, the opera ends abruptly. Note: Sprechstimme   Atonal   Expressionist subject matter Chapter 9
Chapter 10: Anton Webern ,[object Object],Schoenberg’s other famous student His music was ridiculed during his lifetime Shy family man, devoted Christian ,[object Object],Chapter 10
Webern’s Music Expanded Schoenberg’s idea of tone color being part of melody ,[object Object],His music is almost always very short ,[object Object],Chapter 10
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 10
America to Front & Center Why’d it take so long? Ives * Gershwin * Still * Copeland
Chapter 12: Charles Ives ,[object Object],Worked as an insurance agent, composed music on the side First published own music; initially ridiculed Son of a professional bandmaster (director) ,[object Object],Wrote quite original music Chapter 12
Ives’s Music Music based upon American folk songs Polyrhythm, polytonality, and tone clusters ,[object Object],Often, his music is very difficult to perform Chapter 12
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 12
Chapter 13: George Gershwin ,[object Object],Wrote popular music, musical theatre, and serious concert music ,[object Object],[object Object],[object Object],[object Object],Chapter 13
Often co-wrote with his brother, Ira, as lyricist Was friends and tennis partner with Schoenberg Financially successful—songs were popular Met Berg, Ravel, and Stravinsky in Europe Died of brain tumor at age 38 Chapter 13
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 13
Chapter 14: William Grant Still ,[object Object],First African-American composer to have work performed by a major American orchestra Born in Woodville, MS; grew up Little Rock, AR Chapter 14
Worked for W. C. Handy in Memphis, TN Later wrote film scores in Los Angeles First African-American to conduct a major symphony orchestra (1936) Also first to have an opera performed by a major opera company (1949) ,[object Object],Chapter 14
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 14
Chapter 15: Aaron Copland ,[object Object],Wrote music in modern style more accessible to audience than many other composers ,[object Object],[object Object],Drew from American folklore for topics Chapter 15 Wrote simple, yet highly professional music Other contributions to American music: ,[object Object],[object Object],[object Object],[object Object]
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 15
Chapter 17: Musical Styles since 1945 p. 337 ,[object Object],[object Object],[object Object],Chapter 16
Characteristics of Music Since 1945 Increased use of the  twelve-tone system Serialism —twelve-tone techniques extended Chance music  that includes the random Minimalist music  with tonality, pulse, repetition Deliberate  quotations  of earlier music in work Chapter 16
Characteristics of Music Since 1945 Return to tonality  by some composers –    the “New Romantics” Electronic music “ Liberation of sound” —use of noiselike sounds Mixed media New concepts of  rhythm  and  form Chapter 16
Increased Use of the Twelve-Tone System After WWII, Europeans explored twelve-tone Twelve-tone viewed as technique, not a style ,[object Object],[object Object],[object Object],Pointillist  approach with  atomized  melodies  Chapter 16
Extensions of the Twelve-Tone System: Serialism Late 1940s and early 1950s ,[object Object],[object Object],[object Object],[object Object],The system was used to organize rhythm, dynamics, and tone color Chapter 16
Chance Music 1950s Composers choose pitches, tone colors, and rhythms by random methods ,[object Object],[object Object],Also call  aleatory ,[object Object],Opposite of serialism Chapter 16
Minimalist Music Mid-1960s ,[object Object],[object Object],[object Object],Characteristics Chapter 16
Musical Quotation Since mid-1960s Improves communication with audience ,[object Object],Frequently juxtaposes quoted material with others, creating an Ives-esque sound Return to Tonality Parallels quotation in implying other styles Represents conscious break with serialism Chapter 16
Electronic Music Uses technological advances for new music  ,[object Object],[object Object],[object Object],Chapter 16
“ Liberation of Sound” Use of wider variety of sounds than ever ,[object Object],Novel and unusual performance techniques are required (screaming, tapping instrument, …) Use of  microtones , clusters, any new sound Chapter 16
Mixed Media Visual art often combined with music for effect Often intended to relax concert atmosphere Chapter 16
Rhythm and Form Some new compositions ignore rhythmic notation and specify sound in seconds/minutes ,[object Object],[object Object],Traditional forms giving way to new ideas Chapter 16
Electronics in Music ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 17
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Ch 17: Music since 1945: 5 Representative Pieces: Listening Chapter 17
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 17
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 17
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 17
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 17
Tying it all together  (sort of) ,[object Object],[object Object],[object Object]
Listening – not in current edition ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 17 Performance Perspective:  Yo-Yo Ma, cellist
Copyright Why is this important?
Copyright ,[object Object],[object Object],[object Object]
Copyright ,[object Object],[object Object],[object Object],[object Object],[object Object]
Copyright ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Fair Use ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Benefits ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Benefits ,[object Object]
Samples: Writer gets paid ,[object Object],[object Object],[object Object],[object Object],[object Object]
Ascap Payments ,[object Object]
Ascap Payments ,[object Object],[object Object],[object Object]
Ascap Payments ,[object Object],[object Object],[object Object],[object Object],[object Object]
Ascap Payments ,[object Object]
 
 
Songwriter Bill of Rights
Jazz The Book Version
Chapter 18: Jazz ,[object Object],[object Object],[object Object],[object Object],Main characteristics ,[object Object],[object Object],[object Object],[object Object],Originally performance music; not notated Tremendous impact on pop and art music Chapter 18
[object Object],Jazz in Society Originally music for dancing ,[object Object],[object Object],[object Object],Chapter 18
Elements of Jazz Tone Color Usually performed by  combo  of 3 to 8 players ,[object Object],Main solo instruments trumpet, trombone, saxophone, clarinet, vibraphone, piano Backbone is  rhythm section “ Bends,” “smears,” “shakes,” “scoops,” “falls” Chapter 18
Improvisation ,[object Object],[object Object],[object Object],[object Object],Chapter 18
Rhythm, Melody, and Harmony Syncopation and rhythmic swing are features ,[object Object],[object Object],[object Object],Chapter 18 ,[object Object],Melodies flexible in pitch ,[object Object],[object Object],[object Object]
Roots of Jazz ,[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 18
[object Object],Ragtime Piano music ,[object Object],[object Object],[object Object],“ King of ragtime” was Scott Joplin (1868-1917) Listening  Joplin’s  Maple Leaf Rag   Basic set, CD 8:42 Chapter 18
Blues ,[object Object],[object Object],1  2  3  4  5  6  7  8  9  10  11  12 I IV I V I ,[object Object],[object Object],Chapter 18
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Performance Profile: Bessie Smith, vocalist Listen for performer’s  interpretation  that includes clear diction, powerful round sound, and “bent” notes Chapter 18
Jazz Styles New Orleans Style Also called  Dixieland Front line  of horns supported by rhythm section ,[object Object],[object Object],Chapter 18 Characteristics ,[object Object],Many notable performers ,[object Object],[object Object],[object Object],[object Object]
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 18
Swing Popular 1935-45 ( Swing era ) ,[object Object],[object Object],[object Object],[object Object],Large bands (usually 15-20 players) ,[object Object],Chapter 18
Chapter 18 Duke Ellington and his Famous Orchestra: 1943
Theme and variations form common ,[object Object],Melody usually performed by groups of instruments rather than by soloists ,[object Object],Chapter 18
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 18
Bebop 1940’s and early 1950’s Meant for listening—not dancing Combo was preferred ensemble ,[object Object],Melodic phrases varied in length Chapter 18
Theme and variations form still dominant ,[object Object],[object Object],Chords built with 6 or 7 notes, not earlier 4 or 5 Many notable performers including ,[object Object],[object Object],Chapter 18
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 18
Cool Jazz Late-1940s and early-1950’s More calm, relaxed than Bebop Relied more upon arrangements Leading performers: ,[object Object],[object Object],[object Object],[object Object],Chapter 18 Miles Davis
Free Jazz 1960’s Similar to chance music Solos sections of indeterminate length Improvisation by multiple players at once ,[object Object],Chapter 18
Jazz Rock (Fusion) In late 1960’s, rock became potent influence Style combined improvisation with rock rhythms Combined acoustic and electric instruments ,[object Object],[object Object],Miles Davis also influential in this style Chapter 18
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 18
Extra Stuff after this slide
Chapter 19: The American Musical ,[object Object],Originally designed for stage presentation ,[object Object],[object Object],[object Object],Chapter 19
Development of the Musical Roots go back to  operetta,  or  comic opera Show Boat  (1927) topic: interracial romance ,[object Object],Until 1960’s, songs mostly traditional (AABA) ,[object Object],Chapter 19
Leonard Bernstein Conductor, pianist, author, lecturer, and composer Wrote orchestral and vocal works Dance an important part of his musicals Chapter 19
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 19
Music in Film Early Film Music Began in 1890s First “talking movie”  The Jazz Singer  (1927) ,[object Object],Music used to enhance emotional effect and to cover noise from projector Chapter 19
Functions and Styles of Film Music Film music’s  function: Extent of music use varies from film to film Style of music usually determined by the film ,[object Object],[object Object],[object Object],Chapter 19
Creating Film Music On-staff vs. outsourced: Composer and director determine extent, type, and placement of music Tempo and timing are two critical issues in creating film music ,[object Object],[object Object],[object Object],Chapter 19
Music and Image Wagner’s  leitmotif  concept still employed in film Sometimes mood of music does not match image Importance of film music still widely recognized ,[object Object],Soundtrack albums often bring film’s music to listeners outside of the theater Chapter 19
Chapter 20: Rock ,[object Object],Common features: ,[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20 ,[object Object],Grew mainly from  rhythm and blues Incorporated new technologies as they came available
[object Object],Development of Rock ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20 ,[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20 Performance Perspective:  Carlos Santana, p. 395
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],Elements of Rock Tone Color ,[object Object],Frequent vocal effects (shout, scream, falsetto) ,[object Object],[object Object],Chapter 20
Rhythm Almost always in 4/4 meter ,[object Object],[object Object],[object Object],[object Object],Chapter 20
[object Object],Form, Melody, and Harmony ,[object Object],Short, repeated melodic patterns ,[object Object],Chapter 20 ,[object Object],Usually built on modes, not major/minor Harmonically simple ,[object Object]
Listening ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Chapter 20

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Tom Rule Music Appreciation 20th c

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  • 10. Part VI: The Twentieth Century and Beyond p277
  • 11. Time Line Freud: Interpretation of Dreams 1900 Einstein: special theory of relativity 1905 First World War 1914-1918 Russian Revolution begins 1917 Great Depression begins 1929 Hitler appointed chancellor of Germany 1933 Second World War 1939-1945 Atomic bomb destroys Hiroshima 1945 PART VI—THE TWENTIETH CENTURY AND BEYOND
  • 12. Time Line Korean War 1950-1953 Crick & Watson: structure of DNA 1953 Vietnam War 1955-1975 President Kennedy assassinated 1963 American astronauts land on moon 1969 Dissolution of the Soviet Union 1991 Mandela elected president of South Africa 1994 Terrorist attacks in U.S. 2001 War in Iraq began 2003 PART VI—THE TWENTIETH CENTURY AND BEYOND
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  • 24. New Chord Structures Polychord Quartal and quintal harmony Cluster Chapter 1
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  • 37. Impressions: Sunrise – Claude Monet, 1872
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  • 39. French Symbolist Poetry Symbolists also broke with traditions and conventions Avoided hard statements—preferred to “suggest” (symbolize) their topics Wikipedia: expressed “ thoughts and feelings in disconnected ways” Symbolist poetry became the basis for many Impressionist musical works Chapter 3
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  • 65. America to Front & Center Why’d it take so long? Ives * Gershwin * Still * Copeland
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  • 70. Often co-wrote with his brother, Ira, as lyricist Was friends and tennis partner with Schoenberg Financially successful—songs were popular Met Berg, Ravel, and Stravinsky in Europe Died of brain tumor at age 38 Chapter 13
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  • 78. Characteristics of Music Since 1945 Increased use of the twelve-tone system Serialism —twelve-tone techniques extended Chance music that includes the random Minimalist music with tonality, pulse, repetition Deliberate quotations of earlier music in work Chapter 16
  • 79. Characteristics of Music Since 1945 Return to tonality by some composers – the “New Romantics” Electronic music “ Liberation of sound” —use of noiselike sounds Mixed media New concepts of rhythm and form Chapter 16
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  • 87. Mixed Media Visual art often combined with music for effect Often intended to relax concert atmosphere Chapter 16
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  • 98. Copyright Why is this important?
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  • 113. Jazz The Book Version
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  • 126. Chapter 18 Duke Ellington and his Famous Orchestra: 1943
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  • 136. Extra Stuff after this slide
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  • 139. Leonard Bernstein Conductor, pianist, author, lecturer, and composer Wrote orchestral and vocal works Dance an important part of his musicals Chapter 19
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