20Th Century Music

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20th Century Music Higher Impressionism – late 1900s Impressionism Often programmatic (descriptive) Chords used for expression Discords merge into further discords Parallel Chords Use of unusual scales – Modal – Pentatonic – Whole tone Whole Tone Scale A scale made up of whole tones Minimalism – 1950s + Minimalist Ideas repeated over and over Sounds very simple Changes happen gradually Aleatoric – 1950s Experimental John Cage “Music of Chance” Aleatoric Throwing dice to choose notes Performer’s choice to play music in order Choices made about tempo, dynamics and expression Performer improvises on a given group of notes No musical notation provided – symbols, a diagram, a drawing, a poem or basic idea Neo Classical Dissonance Instrumentation Unusual harmonic changes Serialism Devised by Schoenberg Arrangement of 12 notes of chromatic scale Tone row – None should appear out of order – A note may be immediately repeated – Any note may appear in any octave Tone Row Original form Retrograde (in reverse order) Inversion (turned upside down) Retrograde Inversion (backward and upside down) Musique Concrete Musique Concrete Recorded Natural Sounds Edited using techniques such as: – Cutting and re-assembling – Playing backwards – Slowing down – Speeding up Musical A play which has speaking, singing and dancing Performed on a stage. In recent years the musical has seen a revival and may now deal with very dramatic stories and contain no dialogue. Polytonality Two or more keys played or sung at the same time The melody might be in the key of C major whilst the accompaniment might be in E major Bartok Ives Holst Stravinsky Cross Rhythms The effect of two notes being played against three The effect that occurs when the accents in a piece of music are different from those suggested by the time signature – 4/4 time into 3+3+2 quavers Note Clusters A group of notes played on a keyboard instrument with the palm of the hand or even with the forearm Microtone Any interval noticeably smaller than a semitone Often found in the music of Eastern European countries and also in Indian and Arabic music Irregular Metres Groupings of notes change, but the underlying pulse remains constant. Groupings of two and three produce irregular accents and metres Destroy the feeling of a regular down beat by changing the time signature frequently Sprechgesang A technique used in vocal music Half-way between singing and speaking Hemiola A rhythmic device giving the impression of a piece of music changing from duple (2) to triple (3) time vice versa Sometimes placed at the end of a piece to act as a kind of Rallentando. .

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College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed.
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Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
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Kostka, Stefan
TEN Classical Serialism INTRODUCTION When Schoenberg composed the first twelve-tone piece in the summer of 192 1, I the "Pre- lude" to what would eventually become his Suite, Op. 25 (1923), he carried to a conclusion the developments in chromaticism that had begun many decades earlier. The assault of chromaticism on the tonal system had led to the nonsystem of free atonality, and now Schoenberg had developed a "method [he insisted it was not a "system"] of composing with twelve tones that are related only with one another." Free atonality achieved some of its effect through the use of aggregates, as we have seen, and many atonal composers seemed to have been convinced that atonality could best be achieved through some sort of regular recycling of the twelve pitch class- es. But it was Schoenberg who came up with the idea of arranging the twelve pitch classes into a particular series, or row, th at would remain essentially constant through- out a composition. Various twelve-tone melodies that predate 1921 are often cited as precursors of Schoenberg's tone row, a famous example being the fugue theme from Richard Strauss's Thus Spake Zararhustra (1895). A less famous example, but one closer than Strauss's theme to Schoenberg'S method, is seen in Example IO-\. Notice that Ives holds off the last pitch class, C, for measures until its dramatic entrance in m. 68. Tn the music of Strauss and rves th e twelve-note theme is a curiosity, but in the mu sic of Schoenberg and his fo ll owers the twelve-note row is a basic shape that can be presented in four well-defined ways, thereby assuring a certain unity in the pitch domain of a composition.
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University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Selective analysis of 20th century contemporary percussion ensembles designated for three or more players Raymond Francis Lindsey The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lindsey, Raymond Francis, "Selective analysis of 20th century contemporary percussion ensembles designated for three or more players" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3513. https://scholarworks.umt.edu/etd/3513 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A SELECTIVE ANALYSIS OF 2 0 ^ CENTURY CONTEMPORARY PERCUSSION ENSEMBLES DESIGNATED FOR THREE OR MORE PLAYERS by Raymond Francis Lindsey B.M* University of Montana 1965 Presented in partial fulfillment of the requirements for the degree of Master of Music University of Montana 1968 Approved by; L L u ' ! JP. 4 . Chairman, Board of Exami4/ers Deah/, Graduate School 1 :: iosa Date UMI Number: EP35093 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
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How Understanding Arrangement Techniques Can Improve Your Songs Mike Levine on Jul 04, 2017 in Music Theory & Education 1 Comments
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