This document provides a summary of key developments in music during the 20th century. It discusses major events like the two world wars and technological advancements. Regarding music, it describes the rejection of traditional rules by composers and the emergence of diverse styles like Impressionism, Neoclassicism, and atonality. Major figures discussed include Debussy, Stravinsky, and the influence of jazz. Overall it gives a high-level overview of the radical changes in music during this period through the lens of technological, social, and artistic developments.
This document provides an overview of several genres of 20th century music, including jazz, country music, rock 'n' roll, and traditional pop music. For jazz, it outlines the history and origins in New Orleans, as well as styles such as swing, bebop, and Latin jazz. Country music originated in the southeastern US and features folk styles and ballads. Rock 'n' roll evolved from blues and incorporated infectious rhythms and syncopation. Traditional pop popularized vocalists accompanied by orchestras in the 1950s.
The 20th and 21st century saw a dramatic change in how music was recorded, distributed, and consumed. New technologies like recording, amplification, and broadcasting allowed music to reach global audiences and for new musical styles and forms to challenge traditional rules. Faster transportation also let musicians and fans travel more widely to perform or listen to different types of music. Overall, music became more accessible to both rich and poor due to inexpensive reproduction and transmission of high quality musical performances.
The document discusses developments in music in the 20th century. It covers many new styles that emerged such as Impressionism, Expressionism, Serialism, and Minimalism. Composers experimented with tone color, harmony, rhythm, and melody. New technologies like recording and broadcasting also influenced music and brought it to wider audiences. The music of this period was characterized by breaking from tradition and exploring new sounds and styles of composition.
The 20th century saw the diversification of musical styles and trends as composers experimented with new techniques and forms. Romanticism continued into the early 20th century but was later replaced by modernist styles like atonality, expressionism, minimalism, and electronic music. Performance practice was also transformed by new technologies like recording devices, amplified instruments, and synthesizers which expanded the potential audience. By the late 20th century, multimedia works combining various art forms emerged as artists incorporated new digital technologies.
The document summarizes modern and 20th century music trends from 1900 to the present. It discusses styles like impressionism and expressionism that moved away from traditional forms. Jazz became a dominant American form incorporating genres like ragtime, blues, and rock. New techniques emerged like unusual time signatures, asymmetric rhythms, polymetric and multimetric meters. Melody became less important while texture, sonority, and serialism gained prominence. The document also lists influential 20th century composers such as Stravinsky, Copland, Gershwin, Ives, Vaughn Williams, and Bartok.
20th century classical music saw many new styles and approaches emerge as composers experimented with new sounds and questioned traditional forms of composition. Composers like Arnold Schoenberg developed the 12-tone technique of composing using mathematical relationships between notes, while Igor Stravinsky wrote in diverse styles and provoked audiences with pieces like The Rite of Spring. Aaron Copland championed American music, incorporating jazz and folk elements into his compositions that were performed around the world.
1. The document identifies several 20th century musical styles including Impressionism, Primitivism, Neo-Classicism, Avant-garde music, and Modern Nationalism. It provides examples of influential composers within each style such as Claude Debussy, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Bela Bartok, Sergie Prokofieff, and Francis Poulenc.
2. Electronic music pioneers such as Edgard Varese and Karlheinz Stockhausen are noted. The document also discusses chance music and cites John Cage as an example.
3. The overall objective is to explain the importance of different 20th
The document provides an overview of musical styles and developments between 1900-1945. It discusses how composers broke from traditional rules and abandoned common practices like key and harmony. A wide range of styles emerged, including Impressionism, Neoclassicism, Expressionism, atonality, and 12-tone serialism. Major figures like Debussy, Stravinsky, Schoenberg, and Bartok are introduced along with characteristics of their revolutionary compositions.
This document provides an overview of several genres of 20th century music, including jazz, country music, rock 'n' roll, and traditional pop music. For jazz, it outlines the history and origins in New Orleans, as well as styles such as swing, bebop, and Latin jazz. Country music originated in the southeastern US and features folk styles and ballads. Rock 'n' roll evolved from blues and incorporated infectious rhythms and syncopation. Traditional pop popularized vocalists accompanied by orchestras in the 1950s.
The 20th and 21st century saw a dramatic change in how music was recorded, distributed, and consumed. New technologies like recording, amplification, and broadcasting allowed music to reach global audiences and for new musical styles and forms to challenge traditional rules. Faster transportation also let musicians and fans travel more widely to perform or listen to different types of music. Overall, music became more accessible to both rich and poor due to inexpensive reproduction and transmission of high quality musical performances.
The document discusses developments in music in the 20th century. It covers many new styles that emerged such as Impressionism, Expressionism, Serialism, and Minimalism. Composers experimented with tone color, harmony, rhythm, and melody. New technologies like recording and broadcasting also influenced music and brought it to wider audiences. The music of this period was characterized by breaking from tradition and exploring new sounds and styles of composition.
The 20th century saw the diversification of musical styles and trends as composers experimented with new techniques and forms. Romanticism continued into the early 20th century but was later replaced by modernist styles like atonality, expressionism, minimalism, and electronic music. Performance practice was also transformed by new technologies like recording devices, amplified instruments, and synthesizers which expanded the potential audience. By the late 20th century, multimedia works combining various art forms emerged as artists incorporated new digital technologies.
The document summarizes modern and 20th century music trends from 1900 to the present. It discusses styles like impressionism and expressionism that moved away from traditional forms. Jazz became a dominant American form incorporating genres like ragtime, blues, and rock. New techniques emerged like unusual time signatures, asymmetric rhythms, polymetric and multimetric meters. Melody became less important while texture, sonority, and serialism gained prominence. The document also lists influential 20th century composers such as Stravinsky, Copland, Gershwin, Ives, Vaughn Williams, and Bartok.
20th century classical music saw many new styles and approaches emerge as composers experimented with new sounds and questioned traditional forms of composition. Composers like Arnold Schoenberg developed the 12-tone technique of composing using mathematical relationships between notes, while Igor Stravinsky wrote in diverse styles and provoked audiences with pieces like The Rite of Spring. Aaron Copland championed American music, incorporating jazz and folk elements into his compositions that were performed around the world.
1. The document identifies several 20th century musical styles including Impressionism, Primitivism, Neo-Classicism, Avant-garde music, and Modern Nationalism. It provides examples of influential composers within each style such as Claude Debussy, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Bela Bartok, Sergie Prokofieff, and Francis Poulenc.
2. Electronic music pioneers such as Edgard Varese and Karlheinz Stockhausen are noted. The document also discusses chance music and cites John Cage as an example.
3. The overall objective is to explain the importance of different 20th
The document provides an overview of musical styles and developments between 1900-1945. It discusses how composers broke from traditional rules and abandoned common practices like key and harmony. A wide range of styles emerged, including Impressionism, Neoclassicism, Expressionism, atonality, and 12-tone serialism. Major figures like Debussy, Stravinsky, Schoenberg, and Bartok are introduced along with characteristics of their revolutionary compositions.
The document discusses 20th century composers and their music. It provides information about Philip Glass, Edgar Varese, Karlheinz Stockhausen, and John Cage. Students are asked to listen to songs by each composer and identify musical characteristics. They then analyze the activity and discuss aspects like melody, rhythm, texture, mood, and style of the different pieces of music. Students also choose one music and describe its distinct musical style.
Music of the 20th Century (Modern Classical Music)V7_JED
This document provides an overview of modern classical music (20th century music) and summarizes some of its key developments and characteristics. It explores musical styles like serialism, electronic music, minimalism, experimentalism, and musique concrète. Specific composers and their works are mentioned as examples to illustrate techniques like atonality, pointillism, tone rows, prepared instruments, graphic scores, and electronic/tape music. The text also defines important technical terms and concepts in modern classical music composition.
The document provides a brief history of music from prehistoric times through the modern period. It describes some of the earliest known songs from ancient Mesopotamia and discusses the lack of knowledge about Greek music despite information about its social role. It then outlines some of the major periods of Western classical music history, highlighting characteristic styles, forms, and influential composers of each era, from the Gregorian chants of the Medieval period through the increasing expressionism and experimentation of Romantic and modern music.
Edgard Varese was considered the "Father of Electronic Music." He invented the term "organized sound" and composed works like "Poème Électronique" that utilized new electronic sounds. John Cage experimented with "chance music" and silent performances like "4'33"" to challenge conventions. Karlheinz Stockhausen also pioneered electronic music, drawing from serialism. His works incorporating tape music like "Kontakte" exemplified "musique concrete," using recorded environmental sounds.
Western music developed among settlers and cowboys in the Western United States and Canada in the 19th century. It was influenced by folk music traditions from England, Ireland, Scotland and Wales. Western music celebrates the life of cowboys and uses instruments like the guitar, banjo and fiddle. By the 1960s, the popularity of Western music declined as rock music rose in popularity and Hollywood studios stopped recording many Western artists.
The document discusses various genres and styles of 20th-21st century music. It describes popular music genres like country, disco, funk, hip hop, jazz, rock and roll, punk rock, and progressive rock. It also discusses types of rock music including elements from blues and R&B. Additionally, it covers Broadway musicals, electronic music using synthesizers, minimalist music using small amounts of material, and chance or aleatory music where elements are left to chance.
This document outlines activities for teaching students about 20th century musical styles. It includes having students listen to compositions by Debussy, Schoenberg, Bartok, Stravinsky, and Ravel to observe melodic progression, rhythm, texture, and mood. Students then analyze and discuss the music, identifying which pieces they enjoyed most and the distinct musical styles of different composers. Additional activities include creating video films portraying 20th century elements, performing songs from West Side Story, and conceptualizing a localized presentation of West Side Story or Porgy and Bess.
The document provides an overview of music history from the Middle Ages through the Classical period. It discusses the main characteristics of sacred and secular music in the Middle Ages, including the development of polyphony. Important genres that emerged during the Renaissance include madrigals, masses, and motets. The Baroque period saw the growth of orchestras and opera and the development of fugues. Classical music was simpler than Baroque music, featured controlled emotions, and was written for common people as well as royalty. Symphonies had multiple movements and rondo form was commonly used.
This document discusses the origins and history of music. It suggests that early humans likely found meaning and pleasure in sounds around them, and may have started making sounds by hitting sticks together. Drums are proposed to be among the earliest musical instruments, consisting originally of hollow logs covered with animal skins. Over time, instruments evolved and diversified. The document then outlines Pythagoras' mathematical contributions to understanding music. It proceeds to summarize the major periods in the history of Western classical music and some influential composers of each era. The text concludes by discussing genres of popular music that developed and some purposes music serves in human life and communities.
The document provides an overview of the major periods of music history from ancient times to the modern era. It discusses characteristics of music from each period including dominant genres, major composers, developments in music theory and notation. Key periods mentioned include the Medieval era, Renaissance, Baroque, Classical, Romantic, and Modern times. The document also notes how classical music has evolved and still exists today alongside popular music genres.
This document discusses nationalism in music and provides context for pieces that will be performed as part of the RSNO Maestro Music concert. It defines nationalism and explores how composers have incorporated elements of national identity, folk music, and cultural influences into their compositions. Specifically, it examines how Ralph Vaughan Williams drew from English folk traditions in his music to create a sense of nationalism. The document also considers how nationalism can have both positive and negative impacts and asks students to reflect on their own sense of identity and nationality.
This document provides an overview of different genres of music. It begins by discussing what a music genre is and how genres are divided into subgenres. It then covers several major genres of Western music - rock, jazz, classical, blues, country, reggae, hip hop, electronic, and Latino music. For each genre, it provides details on origins, notable artists, and common subgenres. The document aims to classify and describe the broad categories of music genres.
This document provides an overview of different musical genres throughout history. It begins by classifying music into religious/secular, classical/popular, and descriptive/programmatic/dramatic/pure genres. It then covers the history of classical music from ancient Greece to modern times, including genres like Gregorian chant from the Middle Ages, madrigals and villancicos from the Renaissance, and concertos and suites from the Baroque period. Popular music genres discussed include traditional Spanish folk music and urban pop music. The document also includes listening examples to illustrate different genres.
The document describes the evolution of big band jazz from the mid-1920s to the post-World War II era. It started with small instrumental groups performing classical and jazz music with some improvisation in the 1920s. In the 1930s, the bands got bigger and incorporated more improvisation and syncopated rhythms as swing music became popular. The swing era peaked from 1935-1945 with strong rhythm sections and many famous bandleaders. After World War II, big bands focused more on vocalists and became less popular as recording bans ended, marking the decline of the swing era and the rise of new modern big band styles.
Jazz originated in the southern US in the late 19th century as a combination of European and African musical elements. It later incorporated elements of American pop music and has evolved through various styles over the decades, including Dixieland, swing, bebop, cool jazz, free jazz, and fusion. Blues also originated as an African-American music form and influenced the development of rock music in the 1950s and 1960s through artists like Led Zeppelin and Jimi Hendrix covering blues songs. Rock spread globally in the 1960s during the British Invasion led by bands like the Beatles and Rolling Stones. By the 1970s, rock had diversified into subgenres like soft rock, hard rock, and heavy metal
William Grant Still was an American composer known as the "Dean of Afro-American Composers". He composed over 150 works including five symphonies and eight operas. A turning point in his career was the 1931 premiere of his Afro-American Symphony by the Rochester Philharmonic, which was then performed by 38 orchestras in the US and Europe. Still was the first African American composer to have an opera produced by the New York City Opera and to conduct major orchestras.
Rock music originated as rock and roll and centers around the electric guitar, bass guitar, and drums. Lyrics often focus on romantic love but also address social themes. Pop music originated in its modern form and borrows elements from various styles like urban, dance, rock and Latin. It aims to be commercially appealing and pleasurable to listen to. Classical music encompasses art music from the 11th century to present produced in the Western tradition using instruments largely invented before the mid-19th century. It is typically notated in musical scores. Dance music is composed specifically to facilitate or accompany dancing, either as a whole piece or part of a larger work, performed live or recorded. Comedy music encompasses a wide variety of genres
Folk music originated as music created and shared orally by common people within a culture. It reflects each culture but also shares similarities across cultures as folk music is passed down through generations. Key characteristics include being shared orally rather than written, gradual changes over time, and use of available local instruments. Common types of American folk songs are ballads that tell stories, spirituals about religion or freedom, and songs associated with work, children, dances, and other activities.
The document summarizes musical styles and representative pieces since 1945. It describes increased use of serialism and 12-tone techniques, minimalist music with repetition and steady pulse, chance music using random elements, and a return to tonality in some works. Representative pieces discussed include John Cage's prepared piano work Sonatas and Interludes, Edgard Varèse's electronic Poème électronique, Ellen Taaffe Zwilich's Concerto Grosso quoting Handel, John Adams' Short Ride in a Fast Machine, and Elliott Carter's solo guitar work Shard.
This document provides summaries of several 20th century American composers:
1) Charles Ives composed original music that was initially ridiculed but later won a Pulitzer Prize, blending folk songs in polyrhythmic and polytonal styles.
2) George Gershwin wrote popular and Broadway music as well as serious concert works, frequently collaborating with his brother Ira. He died young of a brain tumor.
3) William Grant Still was the first African American composer to have his work performed by a major orchestra and opera company, including his Afro-American Symphony which showed blues and spiritual influences.
The document discusses 20th century composers and their music. It provides information about Philip Glass, Edgar Varese, Karlheinz Stockhausen, and John Cage. Students are asked to listen to songs by each composer and identify musical characteristics. They then analyze the activity and discuss aspects like melody, rhythm, texture, mood, and style of the different pieces of music. Students also choose one music and describe its distinct musical style.
Music of the 20th Century (Modern Classical Music)V7_JED
This document provides an overview of modern classical music (20th century music) and summarizes some of its key developments and characteristics. It explores musical styles like serialism, electronic music, minimalism, experimentalism, and musique concrète. Specific composers and their works are mentioned as examples to illustrate techniques like atonality, pointillism, tone rows, prepared instruments, graphic scores, and electronic/tape music. The text also defines important technical terms and concepts in modern classical music composition.
The document provides a brief history of music from prehistoric times through the modern period. It describes some of the earliest known songs from ancient Mesopotamia and discusses the lack of knowledge about Greek music despite information about its social role. It then outlines some of the major periods of Western classical music history, highlighting characteristic styles, forms, and influential composers of each era, from the Gregorian chants of the Medieval period through the increasing expressionism and experimentation of Romantic and modern music.
Edgard Varese was considered the "Father of Electronic Music." He invented the term "organized sound" and composed works like "Poème Électronique" that utilized new electronic sounds. John Cage experimented with "chance music" and silent performances like "4'33"" to challenge conventions. Karlheinz Stockhausen also pioneered electronic music, drawing from serialism. His works incorporating tape music like "Kontakte" exemplified "musique concrete," using recorded environmental sounds.
Western music developed among settlers and cowboys in the Western United States and Canada in the 19th century. It was influenced by folk music traditions from England, Ireland, Scotland and Wales. Western music celebrates the life of cowboys and uses instruments like the guitar, banjo and fiddle. By the 1960s, the popularity of Western music declined as rock music rose in popularity and Hollywood studios stopped recording many Western artists.
The document discusses various genres and styles of 20th-21st century music. It describes popular music genres like country, disco, funk, hip hop, jazz, rock and roll, punk rock, and progressive rock. It also discusses types of rock music including elements from blues and R&B. Additionally, it covers Broadway musicals, electronic music using synthesizers, minimalist music using small amounts of material, and chance or aleatory music where elements are left to chance.
This document outlines activities for teaching students about 20th century musical styles. It includes having students listen to compositions by Debussy, Schoenberg, Bartok, Stravinsky, and Ravel to observe melodic progression, rhythm, texture, and mood. Students then analyze and discuss the music, identifying which pieces they enjoyed most and the distinct musical styles of different composers. Additional activities include creating video films portraying 20th century elements, performing songs from West Side Story, and conceptualizing a localized presentation of West Side Story or Porgy and Bess.
The document provides an overview of music history from the Middle Ages through the Classical period. It discusses the main characteristics of sacred and secular music in the Middle Ages, including the development of polyphony. Important genres that emerged during the Renaissance include madrigals, masses, and motets. The Baroque period saw the growth of orchestras and opera and the development of fugues. Classical music was simpler than Baroque music, featured controlled emotions, and was written for common people as well as royalty. Symphonies had multiple movements and rondo form was commonly used.
This document discusses the origins and history of music. It suggests that early humans likely found meaning and pleasure in sounds around them, and may have started making sounds by hitting sticks together. Drums are proposed to be among the earliest musical instruments, consisting originally of hollow logs covered with animal skins. Over time, instruments evolved and diversified. The document then outlines Pythagoras' mathematical contributions to understanding music. It proceeds to summarize the major periods in the history of Western classical music and some influential composers of each era. The text concludes by discussing genres of popular music that developed and some purposes music serves in human life and communities.
The document provides an overview of the major periods of music history from ancient times to the modern era. It discusses characteristics of music from each period including dominant genres, major composers, developments in music theory and notation. Key periods mentioned include the Medieval era, Renaissance, Baroque, Classical, Romantic, and Modern times. The document also notes how classical music has evolved and still exists today alongside popular music genres.
This document discusses nationalism in music and provides context for pieces that will be performed as part of the RSNO Maestro Music concert. It defines nationalism and explores how composers have incorporated elements of national identity, folk music, and cultural influences into their compositions. Specifically, it examines how Ralph Vaughan Williams drew from English folk traditions in his music to create a sense of nationalism. The document also considers how nationalism can have both positive and negative impacts and asks students to reflect on their own sense of identity and nationality.
This document provides an overview of different genres of music. It begins by discussing what a music genre is and how genres are divided into subgenres. It then covers several major genres of Western music - rock, jazz, classical, blues, country, reggae, hip hop, electronic, and Latino music. For each genre, it provides details on origins, notable artists, and common subgenres. The document aims to classify and describe the broad categories of music genres.
This document provides an overview of different musical genres throughout history. It begins by classifying music into religious/secular, classical/popular, and descriptive/programmatic/dramatic/pure genres. It then covers the history of classical music from ancient Greece to modern times, including genres like Gregorian chant from the Middle Ages, madrigals and villancicos from the Renaissance, and concertos and suites from the Baroque period. Popular music genres discussed include traditional Spanish folk music and urban pop music. The document also includes listening examples to illustrate different genres.
The document describes the evolution of big band jazz from the mid-1920s to the post-World War II era. It started with small instrumental groups performing classical and jazz music with some improvisation in the 1920s. In the 1930s, the bands got bigger and incorporated more improvisation and syncopated rhythms as swing music became popular. The swing era peaked from 1935-1945 with strong rhythm sections and many famous bandleaders. After World War II, big bands focused more on vocalists and became less popular as recording bans ended, marking the decline of the swing era and the rise of new modern big band styles.
Jazz originated in the southern US in the late 19th century as a combination of European and African musical elements. It later incorporated elements of American pop music and has evolved through various styles over the decades, including Dixieland, swing, bebop, cool jazz, free jazz, and fusion. Blues also originated as an African-American music form and influenced the development of rock music in the 1950s and 1960s through artists like Led Zeppelin and Jimi Hendrix covering blues songs. Rock spread globally in the 1960s during the British Invasion led by bands like the Beatles and Rolling Stones. By the 1970s, rock had diversified into subgenres like soft rock, hard rock, and heavy metal
William Grant Still was an American composer known as the "Dean of Afro-American Composers". He composed over 150 works including five symphonies and eight operas. A turning point in his career was the 1931 premiere of his Afro-American Symphony by the Rochester Philharmonic, which was then performed by 38 orchestras in the US and Europe. Still was the first African American composer to have an opera produced by the New York City Opera and to conduct major orchestras.
Rock music originated as rock and roll and centers around the electric guitar, bass guitar, and drums. Lyrics often focus on romantic love but also address social themes. Pop music originated in its modern form and borrows elements from various styles like urban, dance, rock and Latin. It aims to be commercially appealing and pleasurable to listen to. Classical music encompasses art music from the 11th century to present produced in the Western tradition using instruments largely invented before the mid-19th century. It is typically notated in musical scores. Dance music is composed specifically to facilitate or accompany dancing, either as a whole piece or part of a larger work, performed live or recorded. Comedy music encompasses a wide variety of genres
Folk music originated as music created and shared orally by common people within a culture. It reflects each culture but also shares similarities across cultures as folk music is passed down through generations. Key characteristics include being shared orally rather than written, gradual changes over time, and use of available local instruments. Common types of American folk songs are ballads that tell stories, spirituals about religion or freedom, and songs associated with work, children, dances, and other activities.
The document summarizes musical styles and representative pieces since 1945. It describes increased use of serialism and 12-tone techniques, minimalist music with repetition and steady pulse, chance music using random elements, and a return to tonality in some works. Representative pieces discussed include John Cage's prepared piano work Sonatas and Interludes, Edgard Varèse's electronic Poème électronique, Ellen Taaffe Zwilich's Concerto Grosso quoting Handel, John Adams' Short Ride in a Fast Machine, and Elliott Carter's solo guitar work Shard.
This document provides summaries of several 20th century American composers:
1) Charles Ives composed original music that was initially ridiculed but later won a Pulitzer Prize, blending folk songs in polyrhythmic and polytonal styles.
2) George Gershwin wrote popular and Broadway music as well as serious concert works, frequently collaborating with his brother Ira. He died young of a brain tumor.
3) William Grant Still was the first African American composer to have his work performed by a major orchestra and opera company, including his Afro-American Symphony which showed blues and spiritual influences.
The document provides an overview of major artistic movements and developments throughout the 20th century. It discusses Expressionism, Cubism, Futurism, Dadaism, Surrealism, and other 'isms' that emerged after World War 1 and how they reflected the social and political upheavals of the time through new styles and techniques. It also profiles influential artists like Picasso, Duchamp, Kandinsky, and others who pioneered abstract and conceptual art.
Primitivistic music asserts one note as more important and combines elements into new wholes. It uses materials from other cultures, countries, and ethnic groups. The document discusses Bela Bartok, a Hungarian composer who used Hungarian folk themes and rhythms. As a primitivist and nationalist, he collected Hungarian folk songs and admired composers like Liszt, Strauss, Debussy, and Stravinsky. He is famous for works like his Six String Quartets spanning 30 years and the Concerto for Orchestra, which features soloists' talents.
The document provides information about music, culture, and society in the 1970s. It discusses the social unrest during this period including the anti-war and civil rights movements. Music genres like rock, disco, and punk rock emerged. Technology advanced with inventions like home computers and video games. Fashion became more casual with bell bottoms and platform shoes. Hair styles like the afro became popular.
This document provides an overview of music in the 20th century, outlining key historical developments and innovations. It discusses how composers broke from traditional structures and incorporated new elements like folk tunes, jazz influences, and tone colors. Several pioneering composers are profiled, including Debussy, Stravinsky, Schoenberg, Bartok, and Filipino composers like Abelardo, Molina, Kasilag, Maceda, and Santos. It explains how 20th century composers experimented with new forms of composition while also drawing from traditional styles.
20th century music saw dramatic innovations in musical styles and forms enabled by new recording and distribution technologies. Key styles that emerged included impressionism, expressionism, neo-classicism, avant-garde music, and modern nationalism. Neo-classicism drew inspiration from 18th century classical music, combining tonal harmonies with some dissonance. Avant-garde music like serialism sought to break boundaries and innovate, exemplified by composers like John Cage. Modern nationalism incorporated folk melodies and motifs to combine modern techniques with patriotic themes, as seen in the works of Bartok, Prokofiev, and Russian composers.
This document provides lecture notes on 20th century art music between 1900-2000. It covers major events between World Wars I and II and how they impacted music. Key developments included the rise of atonality led by Schoenberg and his 12-tone system, as well as growing use of electronic and experimental music. Major composers discussed include Stravinsky, Berg, Webern, Britten, and American composers influenced by European émigrés. The document also examines the impact of technology on music through recordings, synthesis, and indeterminacy in composition.
This document provides an overview of modern times from 1889-1918 through discussing developments in technology, the economy, society, and the arts. Some key points include:
- The period was marked by rapid industrialization, urbanization, and the rise of new technologies like automobiles and airplanes. There was also increased global trade and competition between world powers.
- In the arts, modernist movements like symbolism, impressionism, and cubism emerged, focusing on new techniques and subjective experiences over traditional forms.
- Vernacular music like ragtime, jazz, and musical theater became widely popular through sheet music and recordings. African American musical traditions like ragtime and early jazz developed and influenced composers.
This document provides an overview of modernism in 20th century music. It discusses how the pace of change increased dramatically, with new styles emerging and influences from different cultures. Audio technology also advanced significantly, changing how music was produced and experienced. Modern art movements like Cubism and Expressionism influenced musical experimentation with form, tonality, rhythm, and orchestration. Composers sought new approaches and rejected traditional conventions, embracing diversity and constant evolution.
Chapter 35 - Between the Wars - France & the U.S.Alicia Wallace
Between World War I and II, French composers sought to escape old political dichotomies and were influenced by neoclassicism and Erik Satie. Les Six, including Darius Milhaud, Francis Poulenc, and Germaine Tailleferre, had highly individual styles that drew from diverse influences. Poulenc wrote art songs, operas like Dialogues of the Carmelites, and was openly gay. In the U.S., Edgard Varèse aimed to liberate music from conventions through spatial sound masses. Henry Cowell experimented with new piano techniques while Ruth Crawford Seeger composed serial works and collected folk songs. George Gershwin and Aaron Copland fused classical and
The document provides an overview of major developments in music and society in the 20th century. It describes significant historical events from 1900 to 1945 and technological advances that changed how music was experienced. Key artistic movements during this period included atonality, serialism, and the incorporation of folk music and jazz influences. Composers experimented with tone color, harmony, rhythm, and melodic composition, breaking from traditional structures. The widespread availability of recorded music exposed more people to classical and contemporary works.
The document provides an overview of music in the 20th century and beyond. It discusses the major cultural, social, and technological changes of the century that impacted the arts. It then examines the major musical styles that emerged, including Impressionism, Nationalism, Neo-Classicism, Serialism, Expressionism, and Avant-Garde styles. It notes experimentation with elements of music like rhythm, melody, harmony, and form. The document concludes by outlining some general characteristics of music since 1950, including the use of serialism, aleatoric music, minimalism, music quotation, electronic sounds, and mixed media.
This document provides an overview of classical music and the classical era from 1750-1800. It discusses the key composers of Haydn and Mozart and cultural influences like the Enlightenment, American and French Revolutions. The classical style is described as emphasizing order, balance, and clarity over ornamentation. It discusses the transition from aristocratic patronage to public concerts and composition for amateurs. Elements of classical style included simplicity, regular rhythms, balanced melodies and themes, and equal treatment of instruments and voice.
This document discusses music in the 20th century, covering classical music styles from 1900-1950 and after 1950, as well as folk and popular styles like jazz, music theatre, and rock. For classical music, it describes how musical elements like melody, rhythm, and harmony diverged from tradition and analyses styles including impressionism, nationalism, neoclassicism, expressionism, serialism, and avant-garde. It also briefly outlines the development of jazz, music theatre, and rock during this period.
Early American concert music developed between the mid-19th to late-19th centuries. Notable virtuoso performers like Jenny Lind, Ole Bull, and Louis Moreau Gottschalk toured America, helping grow interest in art music. American composers like Anthony Philip Heinrich were among the first to be popular before the Civil War. The Second New England School, centered around Boston, featured composers like John Knowles Paine, Edward MacDowell, and Amy Beach who embraced German ideals of concert music while incorporating American themes. Antonín Dvořák influenced American nationalism during his directorship of the National Conservatory in New York in the 1890s.
The document provides an overview of cultural, artistic, and intellectual achievements in the United States from 1800 to 1877. It discusses developments in music, art, photography, architecture, and literature during this period. Key points covered include the rise of orchestral, opera, folk, and patriotic music genres. Important musical composers, artists, photographers, and architectural styles are also highlighted. The document reflects on how these cultural achievements shaped everyday American life during this transformative era.
Romanticism was an artistic, literary, musical, and intellectual movement that originated in Europe towards the end of the 18th century as a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified Classicism in general.
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Chapter 34 - Jazz & Popular Music Between the WarsAlicia Wallace
This document provides an overview of musical theater and popular music between the World Wars. It discusses the growth of musical theater in America during the 1920s Golden Age of Tin Pan Alley, with important works like Show Boat. Songwriters of the era included Irving Berlin, Cole Porter, and George Gershwin. Jazz grew increasingly influential, including blues styles like Delta blues performed by Bessie Smith. Big bands and Swing music rose to popularity in the 1920s-1930s led by bandleaders like Duke Ellington. Film music also developed during this time, with Broadway composers contributing to movie musicals and the emergence of composers for film scores, like Max Steiner.
The document summarizes popular music in the postwar era from 1946-1954. It discusses the rise of crooners like Frank Sinatra and Nat King Cole. Novelty songs and light music were popular. The music industry targeted young people and payola was common. Technologies like LP records and tape recording emerged. Rhythm and blues expanded as a market for black popular music. Artists like Louis Jordan, Charles Brown, and Muddy Waters helped develop new styles.
The document provides an overview of music during the Romantic Era from 1820-1900. It discusses the key characteristics of Romanticism including an emphasis on emotion, individualism, and nature. Major composers from the period are profiled like Beethoven, Chopin, Liszt, Wagner, and Berlioz. The rise of nationalism and program music are also summarized. Instrumental and vocal genres expanded during this time with the growth of orchestras, operas, art songs, and tone poems.
33115 1 Post World War II Musical Modernism .docxtamicawaysmith
3/31/15
1
Post World War II
Musical Modernism
The Media Revolution
• Record companies seek out niche markets
• Columbia, Paramount
• Many marketed and sold to a black audience
• “Race records” – became popular with white
audiences also
• “Hillbilly music” marketed to rural white
southerners
• continuation of pre-1920s fiddle tradition
• fiddle contests and medicine shows
• Unregulated Mexican radio stations
• could reach Canada and China
The Media Revolution
• 1946: Television industry begins
• By 1950s, TV common in most households
• Soap operas, sit coms, variety shows, mysteries
• Radio stations begin to play more pre-
recorded music
• Disc Jockeys (DJs) become important
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2
Record Formats
• 78 rpm records: 3-4 minutes of music
• Major record companies begin issuing
Long-Playing (LP) 33 rpm records
• Up to 26 min. per side (12”)
• Targeted at adults
• Often classical music, musical theater,
easy-listening
• 45 rpm Singles (7”)
• Marketed to teens
Pop Music
• Strong connection to Swing
• Continued innovations of popular
1930s vocalists
• Armstrong, Holiday, Bing Crosby
• Song Interpreters
• Each singer recognizable by their style
• Personality becomes part of the song
Pop Music
• Nat “King” Cole (1917-1965)
• Formed a popular jazz trio
• First black artist to host a TV show
• Several pop hits:
• “Straighten Up and Fly Right,” “Unforgettable”
• Frank Sinatra (1915-1998)
• Got his start singing with Big Bands
• Became a teen idol in early 1940s
• Formed his own record company
• “You Do Something to Me” (1950)
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Woody Guthrie (1912-’67)
• Lived a wandering life
• Hobo lifestyle, inspired his poetry
• Experiences during the Depression
• Dust bowl drought, New Deal politics, unions
• Political radical
• Lyrics about social justice, inequalities
• 1940: “This Land is Your Land” written in response to
Irving Berlin’s “God Bless America”
Woody Guthrie
• “So Long, It’s Been Good to Know You” 1940
• Story about west Texas during the Dust Bowl
• Ironic jabs at religion and society
• influences folk-revivalists, singer-songwriters, and rock
musicians for years to come
Urban Folk Revival
• Guthrie, Pete Seeger form Almanac Singers
• Starts the urban folk revival
• Younger Americans seeking authenticity and
directness in music
• Qualities that were missing in pop music
• Folk songs let performers comment on current events
• Join political movements, play for rallies
• Songs of protest against social ills
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Country & Western
• Folk becomes Country
• Radio broadcasts
• Nashville becomes epicenter
• 1927: The Grand Ole Opry in Nashville, TN
• Other barn-dance radio shows pop up
• Promotes “down home” image
• as opposed to European opera
• overalls, straw hats, etc.
Post-War Country Music
• Hank Williams and Kitty Wells
...
The document discusses the history of American swing music from the early 20th century through the 1940s-50s. It notes that jazz forms originated from black genres and spread through movies, Broadway, and radio in the 1920s-30s. The record industry boomed early on but collapsed during the Depression, while radio became popular. Big bands featuring brass, reed, and rhythm sections emerged in the 1930s-40s, popularizing swing music. Bandleaders and singers like Benny Goodman and Frank Sinatra became stars. Dancing to swing music in dance halls was also a popular trend through this era.
The document provides background information on Romantic music from 1820-1900. It discusses how the Enlightenment challenged existing theories and led to a focus on reason over religion. During this period, the Industrial Revolution caused urbanization and health problems. Romantic artists explored emotions, nature, mythology and nationalism in their works. Characteristics of Romantic music included greater expression of emotions, nationalism, use of program music, expanded orchestras and dynamics. The summary highlights the key events and styles that defined Romantic music.
The Nazis came to power in Germany in 1933 and sought to control music according to their racist ideology. They banned composers deemed degenerate including those with modern, atonal styles or Jewish heritage. Carl Orff found success with pseudo-ancient styles appealing to Nazis. The Soviet government also tightly controlled music to promote Marxist-Leninist values through socialist realism from the 1930s. Prokofiev and Shostakovich achieved fame but had to conform their styles to the Soviet regime or face exile, imprisonment, or death.
From Teacher to OnlyFans: Brianna Coppage's Story at 28get joys
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Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
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Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
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The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
Christian Louboutin: Innovating with Red Solesget joys
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The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
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Vi 20th century
1. Music: An Appreciation
4th Brief Edition
by Roger Kamien
Unit VI
The 20th Century
Presentation Development: Robert Elliott
University of Arkansas at Pine Bluff
2. Time-line—The 20th Century
• Freud: Interpretation of Dreams—1900
• Wright brothers: first powered flight—1903
• Einstein: special theory of relativity—1905
• First World War—1914-1918
• Russian Revolution begins—1917
• Great Depression begins—1929
• Second World War—1939-1945
• Atomic Bomb destroys Hiroshima—1945
• 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
3. 20th Century Developments
• Violence & progress are hallmarks
• 1st half—hardship and destruction
• Two World Wars brought terrible new weapons
• Between wars boom/bust economic cycle
• 2nd half—colonial empires dismantled
• Multiple smaller scale wars erupt worldwide
• Extended cold war between US and USSR
• Many smaller wars fueled by cold war tactics
• Unprecedented rapid economic growth
• Widespread gain in principle of equal rights
• Rapid technology & science advancement
• Sound recording, movies, radio, television,
satellites, computers, & Internet alter society
4. 20th Century Developments
• Rapid, radical changes in the arts also occur
• Shock value becomes goal of many art forms
• Modern dance clashes with classical ballet
• Picasso and cubism present distorted views as artwork
• Kandinsky & others no longer try to represent visual world
• Expressionists—deliberate distortion/ugliness as protest
• Individual artists do both traditional & radical styles
• Summary:
• US shapes world culture, new artistic world center
• Nonwestern culture & thought affect all arts
• New technologies stimulate artists—new art forms
• Artists explore human sexuality—extremely frank
• More opportunities for women, African-American,
and minority artists/composers than ever before
• Artists express reaction to wars/massacres in art
• Since 1960’s, pop-art begins to replace elitist art
5. Chpt. 1: Musical Styles: 1900-1945
• 1st 13 years brought radical changes
• Seen as time of revolt & revolution in music
• Composers broke with tradition & rules
• Rules came to be unique to each piece
• Some reviewers said the new music had no
relationship to music at all
• 1913 performance of The Rite of Spring caused riot
• Sounds that were foreign to turn of the century
ears are common to us now
• Key, pitch center, and harmonic progression
practices of the past were mostly abandoned
• Open-minded listening, without expectations
based upon previous musical practice, provides
an opportunity for musical adventure
6. Chpt. 1-Musical Styles: 1900-1945
1900-1945: An Age of Musical Diversity
• Vast range of musical styles during this time
• Intensifying of the diversity seen in Romantic
• Musical influences drawn from Asia & Africa
• Composers drawn to unconventional rhythms
• Folk music incorporated into personal styles
• American jazz also influenced composers
• For American composers, jazz was nationalistic music
• For European composers, jazz was exoticism
• Medieval, Renaissance, & Baroque music
was “re-discovered,” performed, & recorded
• Forms from earlier periods were imitated, but with
20th Century harmonic & melodic practices
• Romantic music, especially Wagner, was seen as
either a point of departure or a style to be avoided
7. Chpt. 1-Musical Styles: 1900-1945
Characteristics of 20th Century Music
Tone Color
• Unusual playing techniques are called for
• Glissando, flutter tongue, col legno, extended notes
• Percussion use greatly expanded
• New instruments added/created
• Xylophone, celesta, woodblock, …
• Other “instruments:” typewriter, auto brake drum, siren
• Music not written for choirs of instruments
• Composers write for timbres, or “groups of soloists”
• Unusual groupings of instruments for small ensembles
• Orchestra scoring also reflects this trend
8. Chpt. 1-Musical Styles: 1900-1945
Characteristics of 20th Century Music
Harmony
Consonance and Dissonance
• Harmony and treatment of chords changed
• Before 1900: consonant and dissonant
• Opposite sides of the coin
• After 1900: degrees of dissonance
New chord structures
• Polychord
• Quartal and
quintal harmony
• Cluster
9. Chpt. 1-Musical Styles: 1900-1945
Characteristics of 20th Century Music
Harmony
Alternatives to the Traditional Tonal System
• Composers want alternatives to major/minor
• Modes of Medieval & Renaissance were revived
• Scales from music outside western Europe utilized
• Some composers created their own scales/modes
• Another approach: use 2 or more keys at once
• Polytonality (bitonality)
• Atonality
• No central or key note, sounds just “exist” and flow
• 12 tone system
• Atonal, but with strict “rules” concerning scale use
• Serialism, an ultra strict method, develops from 12 tone sys.
10. Chpt. 1-Musical Styles: 1900-1945
Characteristics of 20th Century Music
Rhythm
• Rhythmic vocabulary expanded
• Emphasis upon irregularity and unpredictability
• Shifting meters
• Irregular meters
• Polyrhythm
Melody
• Melody no longer bound by harmony’s notes
• Major and minor keys no longer dominate
• Melody mayPlaybased upon a variety of
be from piano
scales,Listening Guide: 12 tones Set, CD 4:23
or even all p. 292 Brief
• Frequent wide leaps
• Rhythmically irregular
• Unbalanced phrases
11. Chpt. 2: Music and Musicians
in Society
• Recorded & broadcast music brought concert
hall to living room, automobile, & elsewhere
• Music became part of everyday life for all classes
• Becoming popular in 1920’s, recordings allowed
lesser known music to reach broader audience
• 1930’s—radio networks formed own orchestras
• Radio brought music to the living room
• Television (popular 1950’s) brought viewer to concert hall
• Modern composers alienated audience
• Turned to old familiar music (Classical, Romantic)
• For 1st time in history, older, not new music was desired
• Recordings helped to make the modern familiar
12. Chpt. 2: Music and Musicians
in Society
• Women became active as composers,
musicians, and music educators
• African-American composers & performers
became more prominent
• Some governments controlled their music
• USSR demanded non-modern, accessible music
• Hitler’s Germany banned Jewish composers’ work
• Many artists & intellectuals left Europe for the US
• Working, creating, & teaching in American universities,
they enriched the culture of the US
• American jazz & popular music swept world
• American orchestras became some of world’s best
• Universities supported modern music &
composers—became music’s new patrons
13. Chpt. 3: Impressionism and Symbolism
• Musical outgrowth of French art and poetry
French Impressionist Painting
• Used broad brush strokes and vibrant colors
• Viewed up close, the painting appears unfinished
• Viewed from a distance it has truth
• Focused on light, color, & atmosphere
• Depicted impermanence, change, and fluidity
• A favorite subject was light reflecting on water
• Named after Monet’s Impression: Sunrise
French Symbolist Poetry
• Symbolists also broke with traditions & conventions
• Avoided hard statements—preferred to “suggest”
(symbolize) their topics
• Symbolist poetry became the basis for many
Impressionist musical works
14. Chpt. 4: Claude Debussy
• French Impressionist composer
• Crossed Romantic/20th Cent. (1862-1918)
• Studied in Paris and Rome
• Lived large—liked luxury, but stayed in debt
Debussy’s Music
• Attempted to capture in music what
Impressionist painters did in visual art
• Titles imply a program music type approach
• Used orchestra as pallet of sounds, not tutti
• Expanded harmonic vocabulary and practice
• Used 5-note chords instead of traditional 3
• Made use of pentatonic and whole-tone scales
• Obscured harmony, tempo, meter, & rhythm
15. Chpt. 4-Claude Debussy
Listening
Prelude to the Afternoon of a Faun
by Claude Debussy (1894)
Listening Guide: p. 301 Brief Set, CD 4:9
The program material (a faun) concerns a
pagan, half man/half goat creature
Note: Use of solo instruments
Disguised meter
Extended harmonic style
16. Chpt. 5: Neoclassicism
• Flourished 1920-1950
• Based new compositions upon devices
and forms of the Classical & Baroque
• Used earlier techniques to organize 20th
Century harmonies & rhythms
• Eschewed program music for absolute
• Preferred to write for small ensembles
• Partially due to limited resources in post-
WWII Europe
• Sounded modern, not classical
17. Chpt. 6: Igor Stravinsky
• Born in Russia (1882-1971)
• Studied with Rimsky-Korsakov
• Early success writing ballet music
• The Rite of Spring caused riot at premier in Paris
• Moved due to the wars
• WWI went to Switzerland, to France afterward,
then to US at onset of WWII
Stravinsky’s Music
• Vocal & instrumental—many styles & forms
• Utilized shifting and irregular meters
• Sometimes more than one meter at once
• Frequently used ostinato
18. Chpt. 6-Igor Stravinsky
Listening
The Rite of Spring, (1913)
by Igor Stravinsky
Part I: Introduction
Listening Guide: p. 308 Brief Set, CD 4:16
Part I: Omens of Spring—Dances of the Youths & Maidens
Listening Guide: p. 309 Brief Set, CD 4:18
Part I: Ritual of Abduction
Listening Guide: p. 310 Brief Set, CD 4:22
Part II: Sacrificial Dance
Listening Guide: p. 310 Basic Set, CD 7:23
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)
19. Chpt. 7: Expressionism
• Attempts to explore inner feelings rather than
depict outward appearances
• Used deliberate distortions
• To assault and shock the audience
• To communicate tension and anguish
• Direct outgrowth of the work of Freud
• Rejected “conventional prettiness”
• Favored “ugly” topics such as madness and death
• Art also seen as a form of social protest
• Anguish of the poor
• Bloodshed of war
• Man’s inhumanity to man
20. Chpt. 8: Arnold Schoenberg
• Born in Vienna (1874-1951)
• First to completely abandon the traditional
tonal system
• Father of the 12-tone system
• When Nazis came to power he (a Jew) was
forced to leave—came to America
• Taught at UCLA until his death
Schoenberg’s Music
• Atonality
• Starting 1908, wrote music w/ no key center
• The 12-Tone System
• Gives equal importance all 12 pitches in octave
• Pitches arranged in a sequence or row (tone row)
• No pitch occurs more than once in the 12 note row in
order to equalize emphasis of pitches
21. Chpt. 8-Arnold Schoenberg
Listening
Mondestrunken (Moondrunk)
from Pierrot lunaire, Op. 21 (Moonstruck Pierrot)
by Schoenberg (1912)
Listening Guide: p. 316 Brief Set, CD 4:24
Program piece: The poet (Pierrot) becomes intoxicated
as moonlight floods the still horizon with desires that
are “horrible and sweet.”
Note: This song part of a 21 song cycle
Departure from voice/piano Romantic Art song:
scored for voice, piano, flute, violin, & cello
Freely atonal, intentionally no key center
Use of Sprechstimme, song/speech style that
was developed by Schoenberg
Expressionist music & text
22. Chpt. 8-Arnold Schoenberg
Listening
A Survivor from Warsaw, 1947
by Arnold Schoenberg
Cantata for narrator, male chorus, and
orchestra
Listening Guide: p. 318 Brief Set, CD 4:25
Tells story of Nazi treatment and murder of
Jews in occupied Poland
Note: Sprechstimme
12-tone technique
English and German text with Hebrew
prayer
Expressionist music and text—shocking
23. Chpt. 9: Alban Berg
• Born in Vienna, 1885-1935
• Student of Schoenberg
• Wrote atonal music
• Due to ill health, did not tour or conduct
• Possibly also reason for his small output
• Most famous work is Wozzeck
• Story of a soldier who is driven to
madness by society, murders his wife, and
drowns trying to wash the blood from his
hands (Expressionist topic & music)
24. Chpt. 9-Alban Berg
Listening
Wozzeck, 1917-1922
Opera by Alban Berg
Act III: Scene 4
Listening Guide: p. 321 Basic Set, CD 7:32
Wozzeck, the soldier, returns to the scene of the crime to
dispose of his knife
Act III: Scene 5
Listening Guide: p. 323 Basic Set, CD 7:36
Marie’s son (Wozzeck’s stepson) & 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
25. Chpt. 10: Anton Webern
• Born in Vienna, 1883-1945
• Schoenberg’s other famous student
• His music was ridiculed during his lifetime
• Shy family man, devoted Christian
• Shot by US soldier by mistake near end of WWII
Webern’s Music
• Expanded Schoenberg’s idea of tone color
being part of melody
• His melodies are frequently made up of several
two to three note fragments that add up to a
complete whole
• Tone color replaces “tunes” in his music
• His music is almost always very short
26. Chpt. 10-Anton Webern
Listening
Five Pieces for Orchestra (1911-1913)
Third Piece
by Anton Webern
Listening Guide: p. 325 Brief Set, CD 4:28
Note: Lack of traditional melody
Tone color washes over the listener
Dynamics never get above pp
27. Chpt. 11: Bela Bartok
• Hungarian, 1881-1945
• Taught piano in Hungary and wrote books for
pedagogy
• Like many other composers, fled Nazis and
came to live in the US
• Used folksongs as basis of his music
• Went to remote areas to collect/record folksongs
Bartok’s Music
• Best known for instrumental works
• Especially piano pieces & string quartets
• Compositions contain strong folk influences
• Worked within tonal center
• Harsh dissonances, polychords, tone clusters
28. Chpt. 11-Bela Bartok
Listening
Concerto for Orchestra (1943)
2nd movement: Game of Pairs
Allegretto scherzando
by Bartok
Listening Guide: p. 329 Brief Set, CD 4:29
Note: Title of work derived from treatment of
instruments in soloistic (concertant) manner
Ternary form
Pairing of instruments in “A” section gives name
to this movement
Prominent drum part
29. Chpt. 12: Charles Ives
• American, 1874-1954
• Son of a professional bandmaster (director)
• Worked as insurance agent, composed
music on the side
• 1st published own music, initially ridiculed
• Won Pulitzer Prize in 1947 for 3rd Symphony
• Wrote quite original music
Ives’s Music
• Music based upon American folk songs
• Polyrhythm, polytonality, & tone clusters
• Claimed was like 2 bands marching past each
other on a street
• Often, his music is very difficult to perform
30. Chpt. 12-Charles Ives
Listening
Putnam’s Camp, Redding, Connecticut
from Three Places in New England (1908?-14)
by Charles Ives (1912)
Listening Guide: p. 331 Basic Set, CD 8:7
Piece is based upon a child’s impression of a
Fourth of July picnic, two bands playing
Note: Polyrhythm
Polytonality
Harsh dissonances
31. Chpt. 13: George Gershwin
• American, 1898-1937
• Wrote popular music, musical theatre, and
serious concert music
• Frequently blended the three into a single style
• At 20 wrote Broadway musical La, La, Lucille
• Wrote Swanee, Funny Face, & Lady, Be Good
• Also, Rhapsody in Blue, Concerto in F, An
American in Paris, & opera Porgy and Bess
• Often co-wrote with his brother, Ira, as lyricist
• Met Berg, Ravel, and Stravinsky in Europe
• Financially successful—songs were popular
• Was friends & tennis partner w/ Schoenberg
• Died of brain tumor at age 38
32. Chpt. 13-George Gershwin
Listening
Rhapsody in Blue, 1924
by George Gershwin
For piano and orchestra
Listening Guide: p. 334
Supplementary Set, CD 2:28
Note: Jazz influence, especially notable
in the clarinet introduction
33. Chpt. 14: William Grant Still
• American composer (1895-1978)
• 1st African-American composer to have work
performed by a major American orchestra
• Born Woodville, MS-grew up Little Rock, AR
• Worked for W. C. Handy in Memphis, TN
• Later wrote film scores in Los Angeles
• 1st African-American to conduct a major
symphony orchestra (1936)
• Also 1st to have an opera performed by a
major opera company (1949)
• Troubled Island about Haitian slave rebellion
34. Chpt. 14-William Grant Still
Listening
Afro-American Symphony, 1931
Third movement
by Still
Listening Guide: p. 336 Brief Set, CD 4:36
Note: Blues and spiritual influence
Scherzo-like, as in a 3rd movement
from the Classical Period
Ternary form
35. Chpt. 15: Aaron Copland
• American, 1900-1990
• Wrote music in modern style more accessible
to audience than many other composers
• Drew from American folklore for topics
• Ballets: Billy the Kid, Rodeo, Appalachian Spring
• Lincoln Portrait, Fanfare for the Common Man
• Wrote simple, yet highly professional music
• Other contributions to American music:
• Directed composers’ groups
• Organized concerts
• Lectured, taught, & conducted
• Wrote books and articles
36. Chpt. 15-Aaron Copland
Listening
Appalachian Spring, 1943-44
Section 7: Theme and Variations on Simple Gifts
by Aaron Copland
Listening Guide: p. 340 Brief Set, CD 4:41
Ballet involves a pioneer celebration in Spring
in Pennsylvania
Note: Use of folk melody
(Shaker melody: Simple Gifts)
Lyrics on p. 340
Theme & variation form
37. Chpt. 16: Musical Styles Since 1945
• Many societal changes since WWII
• Instant communication has altered the world
• Constant demand for novelty
Characteristics of Music Since 1945
•
• Serialism—12-tone techniques extended
• Chance music that includes the random
• Minimalist music w/ tonality, pulse, repetition
• Deliberate quotations of earlier music in work
• Return to tonality by some composers
• Electronic music
• “Liberation of sound”
• Mixed media
• New concepts of rhythm & form
38. Chpt. 16-Musical Styles Since 1945
Increased Use of the 12-Tone System
• After WWII, Europeans explored 12-tone
• Nazi’s had banned music by Schoenberg & Jews
• European composers heard 12-tone as “new”
• 12-tone viewed as technique—not a style
• Pointillist approach w/ atomized melodies
• Webern’s music & style became popular
Extensions of the 12-Tone System: Serialism
• The system was used to organize rhythm,
dynamics, and tone color
• Tone row ordered relationships of pitches
• Serialism ordered other musical elements
• Result was a totally controlled, organized music
• Relationships often very difficult to perceive
39. Chpt. 16-Musical Styles Since 1945
Chance Music
• Opposite of serialism
• Composers choose pitches, tone colors, &
rhythms by random methods
• John Cage: 4’33”, Imaginary Landscape
• Karlheinz Stockhausen: Piano Piece No. 11
Minimalist Music
• Characteristics
• Steady pulse, clear tonality, repetition of short
melodic fragments
• Dynamics, texture, & harmony constant over time
• Emphasis on simple forms, clarity, understatement
40. Chpt. 16-Musical Styles Since 1945
Musical Quotation
• Represents conscious break with serialism
• Improves communication w/ audience
• Quoted material conveys symbolic meaning
• Frequently juxtaposes quoted material with
others, creating an Ives-esque sound
Return to Tonality
• Parallels quotation in implying other styles
Electronic Music
• Uses technological advances for new music
• Recording tape, synthesizers, computers
• Allows composers to skip the middle step of
performers to convey their ideas to an audience
• Provides unlimited palette of sounds/tone colors
41. Chpt. 16-Musical Styles Since 1945
“Liberation of Sound”
• Use of wider variety of sounds than ever
• Some sounds were previously considered noises
• Novel & unusual performance techniques are
required (screaming, tapping instrument, …)
• Use of microtones, clusters, any new sound
Mixed media
• Visual art often combined w/ music for effect
• Often intended to relax concert atmosphere
Rhythm and Form
• Some new compositions ignore rhythmic
notation & specify sound in seconds/minutes
• Traditional forms giving way to new ideas
• Some music “unfolds” w/o obvious form devices
42. Chpt. 17: Music Since 1945:
Four Representative Pieces
Listening
Sonatas and Interludes for Prepared Piano
Sonata II (1946-48)
by John Cage (1912-1992)
Listening Guide: p. 353 Brief Set, CD 4:47
Prepared piano is grand piano w/ objects
inserted between some strings
Note: Binary form—A A B B
Percussive sounds on some notes
Polyphonic
43. Chpt. 17-Music since 1945: Four Representative Pieces
Listening
Poeme electronique (Electronic Poem) 1958
Opening 2:43 of the 8 minute piece
by Edgard Varese (1883-1965)
Listening Guide: p. 355 Brief Set, CD 4:49
Created using recording tape, wide variety of
raw sounds that are often electronically
processed
Note: Electronic and electronically processed
sounds
Some tone-like sounds, some noise-like
Early electronic composition
44. Chpt. 17-Music since 1945: Four Representative Pieces
Listening
Einstein on the Beach (1976)
Knee Play 1
by Philip Glass (b. 1937)
Listening Guide: p. 357 Brief Set, CD 4:51
• Opera has no real plot or character development
• Lyrics are mostly numbers & solfege syllables
• Title derived from Nevil Shute’s novel On the Beach
about nuclear destruction
• Includes 5 short pieces called Knee Plays.
Note: Minimalist approach: Steady, driving pulse
Clear tonality Slow rate of change
Constant repetition of melody & rhythm patterns
45. Chpt. 17-Music since 1945: Four Representative Pieces
Listening
Concerto Grosso 1985
(To Handel’s Sonata in D Major for Violin and
Continuo, First Movement)
by Ellen Taaffe Zwilich (b. 1939)
Listening Guide: p. 359 Brief Set, CD 4:53
Quotation music, each of its 5 movements uses
material from 1st movement of the Handel
piece.
Note: Use of quoted material
Continuo part, as in Baroque Period
Terraced dynamics to imply Baroque
46. Chpt. 18: Jazz
• Developed in the United States
• Began around 1900 in New Orleans
• Originally music for bars and brothels
• Early practitioners primarily African-American
• Main characteristics
• Improvisation
• Syncopated rhythm
• Steady beat
• Call and response
• Originally performance music—not notated
• Tremendous impact on pop & art music
47. Chpt. 18-Jazz
Jazz in Society
• Geographical center has moved around
• Originally music for dancing
• Listening forms later developed
• No longer associated with unfashionable lifestyle
• Colleges now offer bachelor & graduate degrees in jazz
Roots of Jazz
• Blend of elements of several cultures
• West African emphasis on improvisation,
percussion & call-and-response techniques
• American brass band influence on instrumentation
• European harmonic & structural practice
• Blues & ragtime were immediate sources
48. Chpt. 18-Jazz
Ragtime
• Dance hall and saloon music
• Piano music w/ left hand “oom-pah” part
• Usually in duple meter at moderate march tempo
• Right hand part highly syncopated
• Left hand keeps steady beat
• “King of ragtime” was Scott Joplin (1868-1917)
Listening Joplin’s Maple Leaf Rag Basic set CD 8:42
Blues
• Vocal and instrumental form
• 12 measure (bar) musical structure
1 2 3 4 5 6 7 8 9 10 11 12
I IV I V I
• 3 part vocal structure: a a’ b
• Statement/repeat of statement/counterstatement
49. Chpt. 18-Jazz
Listening
Lost Your Head Blues (1926)
Performed by Bessie Smith
(Smith known as “Empress of the Blues”)
Listening Guide: p. 364
Brief Set, CD 4:55
Note: Strophic
12 bar blues form
3 part (a a’ b) vocal structure
Trumpet answers vocalist
Call and response
50. Chpt. 18-Jazz
Elements of Jazz
Tone Color
• Usually performed by combo of 3-8 players
• Backbone is rhythm section
• Similar to Baroque basso continuo
• Main solo instruments trumpet, trombone,
saxophone, clarinet, vibraphone, piano
• “Bends,” “smears,” “shakes,” “scoops,” “falls”
Improvisation
• Created & performed simultaneously
• Each performance is different
• Usually in theme and variations form
• Most commonly 32-bar structure: A A B A format
51. Chpt. 18-Jazz
Elements of Jazz
Rhythm, Melody, and Harmony
• Syncopation & rhythmic swing are features
• Rhythmic accent on beats 2 and 4
• Syncopation often occurs when performer accents
note between the regular rhythmic accents
• “Swing” result of uneven 8th notes (triplet feel)
• Melodies flexible in pitch
• 3rd, 5th, & 7th scale steps often lowered (flatted)
• Called “blue” notes, these pitches come from vocal blues
• Chord progressions similar to tonal system
• As jazz evolved, harmony grew more complex
52. Chpt. 18-Jazz
Jazz Styles
New Orleans Style
• Also called Dixieland
• New Orleans was center of jazz 1900-1917
• Front line of horns supported by rhythm
section
• Songs frequently based on march or church
melody, ragtime piece, pop song, or blues
• Characteristics
• Improvised arrangements
• Multiple instruments improvising simultaneously
• Scat singing
• Theme and variation form predominates
• Many notable performers
• Most famous was trumpeter Louis Armstrong
53. Chpt. 18-Jazz
Listening
Hotter Than That (1927)
by Louis Armstrong and His Hot Five
Based on tune by Lillian Hardin Armstrong, his wife
and pianist
Listening Guide: p. 368
Basic Set, CD 8:48
Note: Interplay of front line instruments
Call and response
Scat singing
Also: Dippermouth Blues Basic Set, CD 8:47
54. Chpt. 18-Jazz
Jazz Styles
Swing
• Popular 1935-45 (Swing era)
• Written music
• Primarily for dancing
• The popular music of the time
• The music of WWII
• Large bands (usually 15-20 players)
• Saxophones, trumpets, trombones, rhythm section
• Melody usually performed by groups of
instruments rather than by soloists
• Other instruments accompany w/ background riffs
• Theme and variations form common
• Usually included improvisation by soloists (singly)
55. Chpt. 18-Jazz
Listening
C-Jam Blues (1942)
by Duke Ellington and His Famous Orchestra
Listening Guide: p. 11
Brief set, CD 1:5
Listen for: 12-bar blues format
Contrast
Repetition
Improvisation
Muted brass instruments
56. Chpt. 18-Jazz
Jazz Styles
Bebop
• 1940’s and early 1950’s
• Meant for listening—not dancing
• Combo was preferred ensemble
• Role of each instrument changed from earlier jazz
• Melodic phrases varied in length
• Chords built w/ 6 or 7 notes, not earlier 4 or 5
• Theme and variations form still dominant
• Melodies derived from pop songs or 12-bar blues
• Initial melody by soloist or 2 soloists in unison
• Many notable performers including
• Trumpet Dizzy Gillespie, piano Thelonious Monk
• Most famous/influential alto sax Charlie Parker
57. Chpt. 18-Jazz
Listening
Bloomdido (1950)
by Charlie Parker
Performed by Charlie Parker, Dizzy Gillespie,
Curly Russell, Thelonious Monk, and Buddy
Rich
Basic Set, CD 8:54
Note: Based on 12-bar blues format
Fast tempo
Lots of notes
Extended improvisation
58. Chpt. 18-Jazz
Jazz Styles
Cool Jazz
• 1950’s
• More calm and relaxed than Bebop
• Relied more upon arrangements
Free Jazz
• 1960’s
• Similar to Chance Music
• Solos sections of indeterminate length
• Improvisation by multiple players at once
Jazz Rock (Fusion)
• In late 1960’s, rock became potent influence
• Style combined improvisation w/ rock rhythms
• Combined acoustic & electric instruments
59. Chpt. 18-Jazz
Listening
Miles Runs the Voodoo Down
from Miles Davis’s Bitches Brew (1969)
Miles Davis, Wayne Shorter, Bennie Maupin, Lenny
White, Jack De Johnette, Charles Alias, Jim Riley,
Chick Corea, Larry Young, Harvey Brooks, Dave
Holland, John McLaughlin
Listening Guide: p. 372
Basic Set, CD 8:55
Note: Electric and acoustic instruments
Mixture of jazz and rock elements
60. Chpt. 19: The American Musical
• Musical, or musical comedy fuses script,
acting, speech, music, singing, dancing,
costumes, scenery, & spectacle
• Similar to opera, but musical has spoken dialog
• Sometimes called Broadway musical
• Originally designed for stage presentation
• Film versions soon followed
Development of the Musical
• Roots go back to operetta, or comic opera
• Show Boat (1927) topic: interracial romance
• Some musicals were political/social statements
• Until 1960’s, songs mostly traditional (AABA)
• Musical mostly untouched by the rock revolution
61. Chpt. 19-The American Musical
Listening
Tonight Ensemble
from West Side Story (1957)
by Leonard Bernstein
Re-telling of Romeo and Juliet set in the slums of New
York. Shakespeare's feuding families become rival
gangs (Jets—Americans and Sharks—Puerto
Ricans).
Listening Guide: p. 378
Brief Set, CD 4:56
This melody is from an earlier fire-escape (balcony)
scene. Here, Tony & Maria (the lovers) plan to meet,
while Riff (Jets leader) and Bernardo (Sharks leader,
Maria’s brother) each plan for the coming fight.
62. Chpt. 20: Rock
• Developed in mid-1950’s
• First called rock & roll, later shortened to rock
• Common features:
• Vocal
• Hard driving beat
• Featured electric guitar
• Made use of heavily amplified sound
• Grew mainly from rhythm & blues
• Also drew influences from country & western
• Incorporated new technologies as they came
available
63. Development of Rock Chpt. 20-Rock
• Early performers included:
• Chuck Berry • Bill Haley and His Comets
• Little Richard • Rock Around the Clock
• The Platters • Elvis (King of Rock & Roll)
• 1960’s:
• Rock by black performers called soul
• James Brown, Ray Charles, Aretha Franklin
• Motown blended R&B w/ mainstream white music
• Diana Ross & the Supremes, Stevie Wonder, …
• 1964: US tour by the Beatles, an English group
• More English groups followed: The British Invasion
• Rolling Stones, The Who, …
• Beatles most influential group in rock history
• Rock also began to absorb influences from folk
• Social issues: Environment (Blowin’ in the Wind), Vietnam
• Many genres: folk rock, jazz rock, acid rock, …
• 1st rock musical: Hair • 1st rock opera: Tommy
64. Development of Rock Chpt. 20-Rock
• 1970’s:
• Continuation of many 60’s styles
• Revival of early rock & roll
• Rise of a dance style called disco
• Many veterans continued, many new artists arrived:
• Linda Ronstadt, Billy Joel, Donna Summer, …
• Other genres of rock arose:
•
65. Chpt. 20-Rock
Development of Rock
• 1980’s:
• British new wave bands became popular
• Police; Culture Club, Eurhythmics
• Known as the second British invasion
• Increased use of electronic technology
• Synthesizers and computers (early sequencers)
• Heavy metal--sexually explicit lyrics & costumes
• Quiet Riot; Iron Maiden; Black Sabbath; Guns ‘n’ Roses
• Rap—developed among young urban blacks
• Began as rhythmic talking accompanied by disk jockey
• Often depicts anger and frustration
• Part of hip-hop culture
66. Development of Rock Chpt. 20-Rock
• The 80’s and into the 90’s:
• Heavy metal & rap continue in popularity in 80-90’s
• Heavy metal continued to reach a mostly white audience
• Rap adopted devices from other types of music
• Rap began to attract broader audience
• African music began to influence mainstream music
• Paul Simon: Graceland (1986) used an African vocal group
• Grunge or alternative rock was embraced
• Grinding guitar sounds & angry lyrics
• Reaction to the polished sound of mainstream rock bands
• Direct stylistic influence from 1970’s punk rock
• Nirvana; Pearl Jam; Soundgarden; Alice in Chains
• Smashing Pumpkins; Nine Inch Nails; Belly; Hole
67. Chpt. 20-Rock
Elements of Rock
Tone Color
• Guitar-based, small core performance group
• 2 guitars, bass guitar, drum set, keyboards
• Usually a singer/instrumentalist
• Occasionally other instruments (horns, strings, etc.)
• Frequent vocal effects (shout, scream, falsetto)
Rhythm
• Almost always in 4/4 meter
• Simple subdivision of beats
• 1 & 2 & 3 & 4 &, 1 & 2 & 3 & 4 &, …
• Late 70’s & 80’s: more rhythmically complex
• Result of polyrhythmic influences of African music
68. Chpt. 20-Rock
Elements of Rock
Form, Melody, and Harmony
• Two commonly utilized forms:
• 12-bar blues form
• 32-bar A A B A form
• Short, repeated melodic patterns
• Usually built on modes, not major/minor
• Harmonically simple
• Usually 3 or 4 (or less) chords
• Often uses chord progressions that were rare in
earlier popular music
69. Chpt. 20-Rock
Lucy in the Sky with Diamonds (1967)
from Sgt. Pepper’s Lonely Hearts Club Band
by the Beatles
Sgt. Pepper was rock setting of unified song cycle (13
songs). Wide range of instruments, influences, &
styles.
Listening Guide: p. 383
Lucy in the Sky, 3rd song in cycle, has 3 sections: A & B
are gentle in triple meter, while C strongly contrasts
and is in quadruple meter.