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M100: Music Appreciation Lecture on the 20th Century Ben Tibbetts, T.A. Thursday April 18, 2013 Welcome! Please sign the attendance at the back of the room. Welcome! Please sign the attendance at the back of the room. Make sure to sign for your section. A Friendly Reminder About CLASS ETIQUETTE Class ends @ 2:15pm or until dismissed A Friendly Reminder About CLASS ETIQUETTE Class ends @ 2:15pm or until dismissed ~ and ~ A Friendly Reminder About CLASS ETIQUETTE Class ends @ 2:15pm or until dismissed ~ and ~ Cell phones should be silenced and put away TODAY’S AGENDA • Introduction to music in the 20th century (p. 335-359) TODAY’S AGENDA • Introduction to music in the 20th century (p. 335-359) • Claude Debussy TODAY’S AGENDA • Introduction to music in the 20th century (p. 335-359) • Claude Debussy • Listening Log: Voiles TODAY’S AGENDA • Introduction to music in the 20th century (p. 335-359) • Claude Debussy • Listening Log: Voiles • Additional supplemental listening, videos and material INTRODUCTION INTRODUCTION Perhaps the single most remarkable aspect of music in the 20th century is… INTRODUCTION Perhaps the single most remarkable aspect of music in the 20th century is… …for the first time, listeners could hear music whenever and wherever they wanted to, without going to concerts. INTRODUCTION • Thomas Edison invented the cylinder disk in 1877. The recording quality was very poor. INTRODUCTION • Thomas Edison invented the cylinder disk in 1877. The recording quality was very poor. • In 1897, the 78 rpm disks were introduced. INTRODUCTION • Thomas Edison invented the cylinder disk in 1877. The recording quality was very poor. • In 1897, the 78 rpm disks were introduced. • Radio stations appeared in the early 1920's. INTRODUCTION • Thomas Edison invented the cylinder disk in 1877. The recording quality was very poor. • In 1897, the 78 rpm disks were introduced. • Radio stations appeared in the early 1920's. • Tape cassettes, CD’s, etc. all eventually appear in the 20th century. INTRODUCTION Today, we take this ability for granted. In the course of human history, sound recording is recent. INTRODUCTION Today, we take this ability for granted. In the course of human history, sound recording is recent. Earliest complete musical composition from the ancient world: “The Song of Seikilos” carved on a grave pillar between 200 BC and AD 100 INTRODUCTION Today, we take this ability for granted. In the course of human history, sound recording is recent. Earliest complete musical composition from the ancient world: “The Song of Seikilos” carved on a grave pillar between 200 BC and AD 100 Around 2000 years of recorded music history, recorded sound only been in existence for 100 years INTRODUCTION • Pace of musical change, like pace of life itself, increased dramatically INTRODUCTION • Pace of musical change, like pace of life itself, increased dramatically • People had more access to more music and greater musical diversity INTRODUCTION • Pace of musical change, like pace of life itself, increased dramatically • People had more access to more music and greater musical diversity • More composers began composing in more diverse styles. SOME COMPOSERS… SOME COMPOSERS… • ...wrote for an increasing mass-market audience SOME COMPOSERS… • ...wrote for an increasing mass-market audience • ...created novel approaches to music by writing works without a tonal center and without a clear sense of meter or regular rhythm SOME COMPOSERS… • ...wrote for an increasing mass-market audience • ...created novel approaches to music by writing works without a tonal center and without a clear sense of meter or regular rhythm • ...incorporated sounds from music of non-Western cultures SOME COMPOSERS… • ...wrote for an increasing mass-market audience • ...created novel approaches to music by writing works without a tonal center and without a clear sense of meter or regular rhythm • ...incorporated sounds from music of non-Western cultures • ...wrote works that called into question the nature of music itself SOME COMPOSERS… • ...wrote for an increasing mass-market audience • ...created novel approaches to music by writing works without a tonal center and without a clear sense of meter or regular rhythm • ...incorporated sounds from music of non-Western cultures • ...wrote works that called into question the nature of music itself • ...opened up the realm of timbre by using electronically generated sounds SOME COMPOSERS… • ...wrote for an increasing mass-market audience • ...created novel approaches to music by writing works without a tonal center and without a clear sense of meter or regular rhythm • ...incorporated sounds from music of non-Western cultures • ...wrote works that called into question the nature of music itself • ...opened up the realm of timbre by using electronically generated sounds • ...did something else MODERNISM Modernism - A spirit that took hold in all the arts in the early 20th century, representing… MODERNISM Modernism - A spirit that took hold in all the arts in the early 20th century, representing… • …a quest for novelty that far exceeded any such drive in the past MODERNISM Modernism - A spirit that took hold in all the arts in the early 20th century, representing… • …a quest for novelty that far exceeded any such drive in the past • …a disregard for tradition MODERNISM Pablo Picasso's "Violin and Grapes" (1912) MODERNISM Pablo Picasso's "Violin and Grapes" (1912) • Retains elements of representation--one can recognize certain aspects of both a violin and some grapes MODERNISM Pablo Picasso's "Violin and Grapes" (1912) • Retains elements of representation--one can recognize certain aspects of both a violin and some grapes • But the sense of perspective is heavily distorted: we see the violin from several different angles all at once. MODERNISM Pablo Picasso's "Violin and Grapes" (1912) • Retains elements of representation--one can recognize certain aspects of both a violin and some grapes • But the sense of perspective is heavily distorted: we see the violin from several different angles all at once. • This style of painting is known as “cubism”. Painting next slide SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • Claude Debussy (1862-1918) SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • Claude Debussy (1862-1918) • Charles Ives (1874-1954) SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • Claude Debussy (1862-1918) • Charles Ives (1874-1954) • Arnold Schoenberg (1874-1951) SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • • • • Claude Debussy (1862-1918) Charles Ives (1874-1954) Arnold Schoenberg (1874-1951) Igor Stravinsky (1882-1971) SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • • • • • Claude Debussy (1862-1918) Charles Ives (1874-1954) Arnold Schoenberg (1874-1951) Igor Stravinsky (1882-1971) John Cage (1912-1992) SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • • • • • • Claude Debussy (1862-1918) Charles Ives (1874-1954) Arnold Schoenberg (1874-1951) Igor Stravinsky (1882-1971) John Cage (1912-1992) Leonard Bernstein (1918-1990) SOME 20TH-CENTURY COMPOSERS WE WILL PROBABLY COVER / MENTION • • • • • • • Claude Debussy (1862-1918) Charles Ives (1874-1954) Arnold Schoenberg (1874-1951) Igor Stravinsky (1882-1971) John Cage (1912-1992) Leonard Bernstein (1918-1990) Philip Glass (1937-present) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • Bela Bartok (1881-1945) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • Bela Bartok (1881-1945) • Germaine Tailleferre (1892-1982) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • Bela Bartok (1881-1945) • Germaine Tailleferre (1892-1982) • William Grant Still (1895-1978) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • • • • Bela Bartok (1881-1945) Germaine Tailleferre (1892-1982) William Grant Still (1895-1978) Aaron Copland (1900-1990) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • • • • • Bela Bartok (1881-1945) Germaine Tailleferre (1892-1982) William Grant Still (1895-1978) Aaron Copland (1900-1990) Ruth Crawford (1901-1953) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • • • • • • Bela Bartok (1881-1945) Germaine Tailleferre (1892-1982) William Grant Still (1895-1978) Aaron Copland (1900-1990) Ruth Crawford (1901-1953) Tania Leon (1943-present) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • • • • • • • Bela Bartok (1881-1945) Germaine Tailleferre (1892-1982) William Grant Still (1895-1978) Aaron Copland (1900-1990) Ruth Crawford (1901-1953) Tania Leon (1943-present) Tan Dun (1957-present) SOME 20TH-CENTURY COMPOSERS WE PROBABLY WON'T COVER • • • • • • • • Bela Bartok (1881-1945) Germaine Tailleferre (1892-1982) William Grant Still (1895-1978) Aaron Copland (1900-1990) Ruth Crawford (1901-1953) Tania Leon (1943-present) Tan Dun (1957-present) And hundreds more… (these are just some of the names listed in the book) THE TONIC & TONALITY THE TONIC & TONALITY Tonic - a single note THE TONIC & TONALITY Tonic - a single note • The note around which a key or scale is centered. THE TONIC & TONALITY Tonic - a single note • The note around which a key or scale is centered. • When played in context, it sounds like "home base". THE TONIC & TONALITY Tonic - a single note • The note around which a key or scale is centered. • When played in context, it sounds like "home base". Example: the tonic of a piece in Ab major would be Ab. Tonal (adjective) or tonality (noun) – generally, a style of musical writing that Tonal (adjective) or tonality (noun) – generally, a style of musical writing that • establishes a tonic as a harmonic and melodic center of gravity Tonal (adjective) or tonality (noun) – generally, a style of musical writing that • establishes a tonic as a harmonic and melodic center of gravity • thus creating potential for a strong sense of resolution and closure VIDEO: HEARING THE TONIC / BOBBY MCFERRIN (Bobby McFerrin known for "Don't Worry, Be Happy".) http://www.youtube.com/watch?v=0gjreHt0t RI ATONALITY ATONALITY Atonal (adjective) or atonality (noun) - A style of writing ATONALITY Atonal (adjective) or atonality (noun) - A style of writing • establishes no harmonic or melodic center of gravity ATONALITY Atonal (adjective) or atonality (noun) - A style of writing • establishes no harmonic or melodic center of gravity • in which all notes are of equal weight and significance. ATONALITY Atonal (adjective) or atonality (noun) - A style of writing • establishes no harmonic or melodic center of gravity • in which all notes are of equal weight and significance. In atonal [or non-tonal] music, there is no clear tonic. VIDEO: THE RITE OF SPRING (STRAVINSKY) - FANTASIA Stravinsky's well-known ballet, "The Rite of Spring", is largely atonal because the music does not establish a clear tonic. http://www.youtube.com/watch?v=G3VqcTDf6l4 MODERNISM Like Wagner’s music, Stravinsky’s early music was controversial for its use of dissonance. MODERNISM Like Wagner’s music, Stravinsky’s early music was controversial for its use of dissonance. In Paris, May 1913, some of the novel harmonies and sounds in Igor Stravinsky's ballet "The Rite of Spring" were so shocking, they caused a riot in the concert auditorium. CLAUDE DEBUSSY (1862-1918) French composer CLAUDE DEBUSSY (1862-1918) Along with Maurice Ravel (1875– 1937, seen right), was one of the most important figures associated with “impressionist” music CLAUDE DEBUSSY (1862-1918) Along with Maurice Ravel (1875– 1937, seen right), was one of the most important figures associated with “impressionist” music You may have heard his famous solo piano piece Clair de Lune "VOILES" Listening Log: Debussy’s Voiles (1909) for solo piano, from a set of twelve preludes. (pronounced “vall”; translates to “sail” or “veil”) http://www.youtube.com/watch?v=VrVyQhUM5C4 Performance by Arturo Michelangeli Italian pianist We will listen to this piece again later on today. IMPRESSIONISM "Voiles" is a good example of impressionist music. IMPRESSIONISM "Voiles" is a good example of impressionist music. Impressionism (noun) or impressionist (adjective) - An artistic movement focused on sensations, perceptions, and light IMPRESSIONISM "Voiles" is a good example of impressionist music. Impressionism (noun) or impressionist (adjective) - An artistic movement focused on sensations, perceptions, and light less focus on the direct representation of objects. IMPRESSIONISM "Voiles" is a good example of impressionist music. Impressionism (noun) or impressionist (adjective) - An artistic movement focused on sensations, perceptions, and light less focus on the direct representation of objects. In music, term was used by critics to describe harmonies, melodies, and forms they considered indistinct. IMPRESSIONISM "Voiles" is a good example of impressionist music. Impressionism (noun) or impressionist (adjective) - An artistic movement focused on sensations, perceptions, and light less focus on the direct representation of objects. In music, term was used by critics to describe harmonies, melodies, and forms they considered indistinct. characterized by a blurring of elements. IMPRESSIONISM In Claude Monet's painting "Impression: Sunrise" (1872), a few objects are recognizable—two boats and the sun, for instance—but Monet's emphasis is on capturing the mood of early morning on the water. Painting next slide IMPRESSIONISM Impressionist music tends to avoid clear cadences and rhythmic patterns, and the music often seems to ebb and flow with a fluid sense of motion. IMPRESSIONISM Impressionist music tends to avoid clear cadences and rhythmic patterns, and the music often seems to ebb and flow with a fluid sense of motion. Emphasis on timbre as a compositional tool. Looking more closely at Voiles. But first, a quick review… HALF STEPS AND WHOLE STEPS HALF STEPS AND WHOLE STEPS • Half step - The smallest distance between two adjacent notes on a piano (white or black), such as C to C#. HALF STEPS AND WHOLE STEPS • Half step - The smallest distance between two adjacent notes on a piano (white or black), such as C to C#. • Whole step - Two half steps. On the piano, a whole step skips exactly one key, white or black. HALF STEPS AND WHOLE STEPS • Half step - The smallest distance between two adjacent notes on a piano (white or black), such as C to C#. • Whole step - Two half steps. On the piano, a whole step skips exactly one key, white or black. • Diatonic scale - A scale consisting of seven notes: five whole steps (W) and two half steps (H). The diatonic scale is arranged in this pattern: W-W-H-W-W-W-H. http://en.wikipedia.org/wiki/File:Diatonic_scale_on_ C.mid HARMONY IN "VOILES" When listening to "Voiles", most people don't feel a sense of any harmonic center. One of the reasons for this is Debussy's use of the whole tone scale in this piece. HARMONY IN "VOILES" When listening to "Voiles", most people don't feel a sense of any harmonic center. One of the reasons for this is Debussy's use of the whole tone scale in this piece. Whole tone scale - A scale with only whole steps, no half steps HARMONY IN "VOILES" When listening to "Voiles", most people don't feel a sense of any harmonic center. One of the reasons for this is Debussy's use of the whole tone scale in this piece. Whole tone scale - A scale with only whole steps, no half steps • eliminates any sense of a tonal center. HARMONY IN "VOILES" When listening to "Voiles", most people don't feel a sense of any harmonic center. One of the reasons for this is Debussy's use of the whole tone scale in this piece. Whole tone scale - A scale with only whole steps, no half steps • eliminates any sense of a tonal center. • Arranged like: W-W-W-W-W-W HARMONY IN "VOILES" When listening to "Voiles", most people don't feel a sense of any harmonic center. One of the reasons for this is Debussy's use of the whole tone scale in this piece. Whole tone scale - A scale with only whole steps, no half steps • eliminates any sense of a tonal center. • Arranged like: W-W-W-W-W-W http://en.wikipedia.org/wiki/File:Whole_tone_scale_ on_C.ogg MELODY IN “VOILES” MELODY: Instead of clear themes, Debussy presents what sound more like fragments of themes than actual self-sufficient melodies. MELODY IN “VOILES” MELODY: Instead of clear themes, Debussy presents what sound more like fragments of themes than actual self-sufficient melodies. Here is the notation of the opening to "Voiles". Notice how short this "melody" is. It is comprised of a downward contour, ending with a leap upward. MELODY IN “VOILES” None of the themes presented in this piece have particularly sharp profiles: each is as fluid as a sail or veil, altered slightly every time it returns. Instead of a kind of musical narrative, Debussy is presenting something more like a succession of slowly changing images. DYNAMICS IN "VOILES" DYNAMICS: Except for one brief passage in the middle, the entire work is written at the level of piano (soft) or pianissimo (very soft). DYNAMICS IN "VOILES" DYNAMICS: Except for one brief passage in the middle, the entire work is written at the level of piano (soft) or pianissimo (very soft). This extremely low dynamic reinforces the nonpercussive timbre of the instrument, as the pianist touches the keys lightly, even wiping or caressing rather than simply striking them for greater dynamic control. RHYTHM IN “VOILES” RHYTHM: Although notated in duple meter, "Voiles" provides the listener with almost no sense of a fixed metrical pattern. RHYTHM IN “VOILES” RHYTHM: Although notated in duple meter, "Voiles" provides the listener with almost no sense of a fixed metrical pattern. Most music in duple meter would follow a pattern of 1-2 1-2 1-2 with a strong accent on the downbeat, but this music resists any such pattern. RHYTHM IN “VOILES” RHYTHM: Although notated in duple meter, "Voiles" provides the listener with almost no sense of a fixed metrical pattern. Most music in duple meter would follow a pattern of 1-2 1-2 1-2 with a strong accent on the downbeat, but this music resists any such pattern. Instead, it seems to float or drift, again evoking the images suggested by the work's title. FORM IN “VOILES” All the elements discussed to this point--timbre, dynamics, rhythm, harmony--combine to create a sense of nondirectional form. The music never seems to be moving toward a particular goal. FORM IN “VOILES” All the elements discussed to this point--timbre, dynamics, rhythm, harmony--combine to create a sense of nondirectional form. The music never seems to be moving toward a particular goal. There is a climax of sorts in the middle, when the music becomes louder and more rhythmically animated for a brief moment before returning to its original tempo and dynamic, but this feels like just one more event in a series of seemingly random events. FORM IN “VOILES” All the elements discussed to this point--timbre, dynamics, rhythm, harmony--combine to create a sense of nondirectional form. The music never seems to be moving toward a particular goal. There is a climax of sorts in the middle, when the music becomes louder and more rhythmically animated for a brief moment before returning to its original tempo and dynamic, but this feels like just one more event in a series of seemingly random events. Even the ending seems inconclusive. The music stops, but does not convey any strong sense of closure. A SECOND LISTEN TO "VOILES" http://www.youtube.com/watch?v=VrVyQhU M5C4 REVIEWING TODAY'S VOCABULARY Modernism - A spirit that took hold in all the arts, in the early twentieth century, representing a quest for novelty that far exceeded any such drive in the past. It was characterized by a disregard for tradition. REVIEWING TODAY'S VOCABULARY Tonic - The note around which a key or scale is centered. (When played in context, it sounds like "home base".) REVIEWING TODAY'S VOCABULARY Tonal (adjective) or Tonality (noun) - A style of writing that establishes a central note (the tonic) as a harmonic and melodic center of gravity, creating the potential for a strong sense of resolution and closure. REVIEWING TODAY'S VOCABULARY Atonal (adjective) or Atonality (noun) - A style of writing that establishes no harmonic or melodic center of gravity; all notes are of equal weight and significance. REVIEWING TODAY'S VOCABULARY Whole tone scale - A scale with only whole steps, no half steps; this eliminates any sense of a tonal center. In other words, the whole tone scale is arranged in this pattern: W-WW-W-W-W. REVIEWING TODAY'S VOCABULARY Impressionism (noun) or impressionist (adjective) - An artistic movement focused more on sensations, perceptions, and light than on the direct representation of objects. In music, the term was used by critics of the early twentieth century to describe harmonies, melodies, and forms they considered indistinct. Questions? FINAL REMINDERS & HOMEWORK FINAL REMINDERS & HOMEWORK • What is Music, Part 2 on Moodle—download, complete the assignment, due next class FINAL REMINDERS & HOMEWORK • What is Music, Part 2 on Moodle—download, complete the assignment, due next class • Read pages 366-382 and 455-460 FINAL REMINDERS & HOMEWORK • What is Music, Part 2 on Moodle—download, complete the assignment, due next class • Read pages 366-382 and 455-460 • Be thinking about / working on your final projects FINAL REMINDERS & HOMEWORK • What is Music, Part 2 on Moodle—download, complete the assignment, due next class • Read pages 366-382 and 455-460 • Be thinking about / working on your final projects • Missed concerts/assignments? Make sure you’re caught up. Questions/concerns? Talk to your T.A. Have a good weekend!