{"id":1584,"date":"2017-03-26T13:49:36","date_gmt":"2017-03-26T13:49:36","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1584"},"modified":"2021-07-28T14:38:20","modified_gmt":"2021-07-28T14:38:20","slug":"introduction-20th-century","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/introduction-20th-century\/","title":{"raw":"Introduction to the 20th Century","rendered":"Introduction to the 20th Century"},"content":{"raw":"
Where to Go After Romanticism?\r\n<\/span><\/strong>The \u00a0final decades of the nineteenth century and the first decades of the twentieth is sometimes called the post-Romantic era. This is the period when many composers, such as Jean Sibelius, Bela Bartok, and Ralph Vaughan-Williams, concentrated on the traditions of their own countries<\/span>, anticipating\u00a0nationalistic music<\/strong>. Others, such as Mahler and Strauss, were taking Romantic musical techniques to their utmost reasonable limits anticipating a post Romantic \u00a0<\/strong>style. In France, Debussy and Ravel were composing pieces that that some listeners felt were the musical equivalent of impressionistic<\/strong> paintings.Some other -isms such as Stravinsky's primitivism still had some basis in tonality, while\u00a0 other styles such as serialism, rejected tonality and the Classical-Romantic tradition. The Romantic period was essentially over by the beginning of the twentieth century\u00a0 The sounds and ideals of Romanticism continued to inspire some composers but .modernists eventually came to dominate art music\r\nSociety:\r\n<\/strong>Music is affected by other things that are going on in society; ideas, attitudes, discoveries, inventions, and historical events may affect the music of the times.\r\n<\/strong><\/section><\/section>https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=705&action=edit<\/span>\r\n\r\nThe study of our Post Romantic period begins with an overview of major trends and composers from the era. The 20th century was clearly a period of widespread experimentation. \u00a0Many composers wanted the freedom to explore new com-positional approaches without the restrictions and expectations that accompany traditional genres. Even when longstanding genres were used, composers felt very comfortable abandoning the traditional structures of those genres.<\/span>\r\n\r\nThe image below is an example of expressionism.\u00a0<\/strong>\u00a0Be aware that\u00a0 a couple of quiz questions ask you to\u00a0 compare paintings\u00a0to the respective\u00a0 trend or style they represent. Note that the one below relates to Expressionism with Schoenberg and the major composer of this school.<\/b><\/em>\r\n\r\nhttps:\/\/en.wikipedia.org\/wiki\/Expressionism<\/span>\r\n\r\n\"Image\r\n\r\nLate Romanticism:\r\n<\/strong>At the turn of the century, music was characteristically late Romantic in style. Composers such as Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the bounds of Post-Romantic Symphonic writing. At the same time, the Impressionist movement, spearheaded by Claude Debussy, was being developed in France. The term \u00a0Post Romantic \u00a0was \u00a0loathed by Debussy: \"I am trying to do 'something different\u2014in a way realities\u2014what the imbeciles call 'impressionism' is a term which is as poorly used as possible, particularly by art critics\"\u2014and Maurice Ravel's music, also often labelled with this term, explores music in many styles not always related to it (see the discussion on Neoclassicism, below).\r\n\r\n[caption id=\"attachment_789\" align=\"alignright\" width=\"250\"]\"Figure Figure 1. Arnold Schoenberg, Los Angeles, 1948[\/caption]\r\n\r\nExpressionism - 12 tone technique<\/strong>\r\nMany composers reacted to the Post-Romantic and Impressionist styles and moved in quite different directions.<\/em> The single most important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. \u00a0In Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the early part of the 20th century. He later developed the twelve-tone technique which was developed further by his disciples Alban Berg and Anton Webern; later composers (including Pierre Boulez) developed it further still. Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even Scott Bradley used the technique in his scores for the Tom and Jerry cartoons.\r\n\r\nNeoclassicism<\/strong>\r\nAfter the First World War, a number of composers started returning to the past for inspiration and wrote works that draw elements (form, harmony, melody, structure) from it.\u00a0 <\/em>It still had a \"modern sound,\u00a0 however. This type of music thus became labelled neoclassicism<\/em>. Igor Stravinsky (Pulcinella<\/i> and Symphony of Psalms<\/i>), Sergei Prokofiev (Classical Symphony<\/i>), Ravel (Le tombeau de Couperin<\/i>) and Paul Hindemith (Symphony: Mathis der Maler<\/i>) all produced neoclassical works.\r\n\r\nAn example of Primitive Art by Paul Brady:<\/strong>\r\n\r\n\"Image\r\n\r\nThis link from google that I found (bob Ford) :\u00a0 https:\/\/www.google.com\/search?q=Paul+Brady+Primitive+Artist&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwj_-PjcycPXAhXK1CYKHbLkD2cQsAQIOg&biw=1095&bih=681<\/span>\r\n\r\n[caption id=\"attachment_790\" align=\"alignright\" width=\"250\"]\"Figure Figure 2. Igor Stravinsky[\/caption]\r\n\r\nFuturism<\/strong>\r\nItalian composers such as Francesco Balilla Pratella and Luigi Russolo developed musical Futurism<\/strong>. This style often tried to recreate everyday sounds and place them in a \"Futurist\" composition.\u00a0 \"Machine Music\" was represented by\u00a0 George Antheil (starting with his Second Sonata, \"The Airplane\"\u00a0 and Alexander Mosolov's\u00a0 \u00a0Iron Foundry.\r\nIn addition, The process of extending musical vocabulary by exploring all available tones was pushed further by the use of Microtones<\/strong> in works by Charles Ives, Juli\u00e1n Carrillo, Alois H\u00e1ba, John Foulds, Ivan Wyschnegradsky, and Mildred Couper among many others. Microtones<\/strong> are those intervals that are smaller than a semitone; human voices and unfretted strings can easily produce microtones\u00a0 between the \"semitones\" ,\u00a0 but other instruments will have more difficulty\u2014the piano and organ have no way of producing them at all, aside from retuning and\/or major reconstruction.\r\n\r\nMusique Concrete<\/strong>\r\nIn the 1940s and 50s composers, notably the French composer\u00a0 Pierre Schaeffer, started to explore the application of technology to music - namely\u00a0compositions using recorded sounds as raw material - sounds of nature and everyday life.. This was called\u00a0\u00a0Musique concr\u00e8te<\/em>,<\/strong> (\"concrete<\/em>\u00a0music\u201d), The term Electroacoustic<\/strong> music came later and included\u00a0 forms of music involving magnetic tape, computers, synthesizers, multimedia, and other electronic devices and techniques. Live electronic music uses live electronic sounds within a performance\u00a0 as opposed to preprocessed\u00a0 sounds that are overdubbed during a performance), Cage's Cartridge Music<\/i> being an early example. Spectral music (G\u00e9rard Grisey and Tristan Murail) is a further development of electroacoustic music that uses analyses of sound spectra to create music. Cage, Berio, Boulez, Milton Babbitt, Luigi Nono and Edgard Var\u00e8se all wrote electroacoustic music.\r\n\r\nFrom the early 1950s onwards, Cage introduced elements of chance into his music. Process music (Karlheinz Stockhausen Prozession<\/i>, Aus den sieben Tagen<\/i>; and Steve Reich Piano Phase<\/i>, Clapping Music<\/i>) explores a particular process which is essentially laid bare in the work.\u00a0The termexperimental music was coined by Cage to describe works that produce unpredictable results, according to the definition \"an experimental action is one the outcome of which is not foreseen.\"\u00a0The term is also used to describe music within specific genres that pushes against their boundaries or definitions, or else whose approach is a hybrid of disparate styles, or incorporates unorthodox, new, distinctly unique ingredients.\r\n\r\nPrimitivism etc.<\/strong>\r\nImportant cultural trends often informed music of this period, romantic, modernist, neoclassical, postmodernist or otherwise. Igor Stravinsky and Sergei Prokofiev were particularly drawn to primitivism in their early careers, as explored in works such as The Rite of Spring<\/i> and Chout<\/i>. \u00a0 Dmitri Shostakovich, reflected the social impact of communism and subsequently had to work within the strictures of socialist realism in their music. Other composers, such as Benjamin Britten (War Requiem<\/i>), explored political themes in their works, albeit entirely at their own volition. Nationalism was also an important means of expression in the early part of the century. The culture of the United States of America, especially, began informing an American vernacular style of classical music, notably in the works of Charles Ives, John Alden Carpenter, and (later) George Gershwin. Folk music (Vaughan Williams' Five Variants of Dives and Lazarus<\/i>, Gustav Holst's A Somerset Rhapsody<\/i>) and Jazz (Gershwin,\u00a0Leonard Bernstein, and\u00a0Darius Milhaud's La cr\u00e9ation du monde<\/i>) were also influential.\r\n\r\nIn the latter quarter of the century, eclecticism and polystylism became important. These, as well as minimalism, New Complexity, and New Simplicity, are more fully explored in their respective articles.","rendered":"
\n
Where to Go After Romanticism?
\n<\/span><\/strong>The \u00a0final decades of the nineteenth century and the first decades of the twentieth is sometimes called the post-Romantic era. This is the period when many composers, such as Jean Sibelius, Bela Bartok, and Ralph Vaughan-Williams, concentrated on the traditions of their own countries<\/span>, anticipating\u00a0nationalistic music<\/strong>. Others, such as Mahler and Strauss, were taking Romantic musical techniques to their utmost reasonable limits anticipating a post Romantic \u00a0<\/strong>style. In France, Debussy and Ravel were composing pieces that that some listeners felt were the musical equivalent of impressionistic<\/strong> paintings.Some other -isms such as Stravinsky’s primitivism still had some basis in tonality, while\u00a0 other styles such as serialism, rejected tonality and the Classical-Romantic tradition. The Romantic period was essentially over by the beginning of the twentieth century\u00a0 The sounds and ideals of Romanticism continued to inspire some composers but .modernists eventually came to dominate art music
\nSociety:
\n<\/strong>Music is affected by other things that are going on in society; ideas, attitudes, discoveries, inventions, and historical events may affect the music of the times.
\n<\/strong><\/section>\n<\/section>\n

https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=705&action=edit<\/span><\/p>\n

The study of our Post Romantic period begins with an overview of major trends and composers from the era. The 20th century was clearly a period of widespread experimentation. \u00a0Many composers wanted the freedom to explore new com-positional approaches without the restrictions and expectations that accompany traditional genres. Even when longstanding genres were used, composers felt very comfortable abandoning the traditional structures of those genres.<\/span><\/p>\n

The image below is an example of expressionism.\u00a0<\/strong>\u00a0Be aware that\u00a0 a couple of quiz questions ask you to\u00a0 compare paintings\u00a0to the respective\u00a0 trend or style they represent. Note that the one below relates to Expressionism with Schoenberg and the major composer of this school.<\/b><\/em><\/p>\n

https:\/\/en.wikipedia.org\/wiki\/Expressionism<\/span><\/p>\n

\"Image<\/p>\n

Late Romanticism:
\n<\/strong>At the turn of the century, music was characteristically late Romantic in style. Composers such as Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the bounds of Post-Romantic Symphonic writing. At the same time, the Impressionist movement, spearheaded by Claude Debussy, was being developed in France. The term \u00a0Post Romantic \u00a0was \u00a0loathed by Debussy: “I am trying to do ‘something different\u2014in a way realities\u2014what the imbeciles call ‘impressionism’ is a term which is as poorly used as possible, particularly by art critics”\u2014and Maurice Ravel’s music, also often labelled with this term, explores music in many styles not always related to it (see the discussion on Neoclassicism, below).<\/p>\n

\"Figure<\/p>\n

Figure 1. Arnold Schoenberg, Los Angeles, 1948<\/p>\n<\/div>\n

Expressionism – 12 tone technique<\/strong>
\nMany composers reacted to the Post-Romantic and Impressionist styles and moved in quite different directions.<\/em> The single most important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. \u00a0In Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the early part of the 20th century. He later developed the twelve-tone technique which was developed further by his disciples Alban Berg and Anton Webern; later composers (including Pierre Boulez) developed it further still. Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even Scott Bradley used the technique in his scores for the Tom and Jerry cartoons.<\/p>\n

Neoclassicism<\/strong>
\nAfter the First World War, a number of composers started returning to the past for inspiration and wrote works that draw elements (form, harmony, melody, structure) from it.\u00a0 <\/em>It still had a “modern sound,\u00a0 however. This type of music thus became labelled neoclassicism<\/em>. Igor Stravinsky (Pulcinella<\/i> and Symphony of Psalms<\/i>), Sergei Prokofiev (Classical Symphony<\/i>), Ravel (Le tombeau de Couperin<\/i>) and Paul Hindemith (Symphony: Mathis der Maler<\/i>) all produced neoclassical works.<\/p>\n

An example of Primitive Art by Paul Brady:<\/strong><\/p>\n

\"Image<\/p>\n

This link from google that I found (bob Ford) :\u00a0 https:\/\/www.google.com\/search?q=Paul+Brady+Primitive+Artist&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwj_-PjcycPXAhXK1CYKHbLkD2cQsAQIOg&biw=1095&bih=681<\/span><\/p>\n

\"Figure<\/p>\n

Figure 2. Igor Stravinsky<\/p>\n<\/div>\n

Futurism<\/strong>
\nItalian composers such as Francesco Balilla Pratella and Luigi Russolo developed musical Futurism<\/strong>. This style often tried to recreate everyday sounds and place them in a “Futurist” composition.\u00a0 “Machine Music” was represented by\u00a0 George Antheil (starting with his Second Sonata, “The Airplane”\u00a0 and Alexander Mosolov’s\u00a0 \u00a0Iron Foundry.
\nIn addition, The process of extending musical vocabulary by exploring all available tones was pushed further by the use of Microtones<\/strong> in works by Charles Ives, Juli\u00e1n Carrillo, Alois H\u00e1ba, John Foulds, Ivan Wyschnegradsky, and Mildred Couper among many others. Microtones<\/strong> are those intervals that are smaller than a semitone; human voices and unfretted strings can easily produce microtones\u00a0 between the “semitones” ,\u00a0 but other instruments will have more difficulty\u2014the piano and organ have no way of producing them at all, aside from retuning and\/or major reconstruction.<\/p>\n

Musique Concrete<\/strong>
\nIn the 1940s and 50s composers, notably the French composer\u00a0 Pierre Schaeffer, started to explore the application of technology to music – namely\u00a0compositions using recorded sounds as raw material – sounds of nature and everyday life.. This was called\u00a0\u00a0Musique concr\u00e8te<\/em>,<\/strong> (“concrete<\/em>\u00a0music\u201d), The term Electroacoustic<\/strong> music came later and included\u00a0 forms of music involving magnetic tape, computers, synthesizers, multimedia, and other electronic devices and techniques. Live electronic music uses live electronic sounds within a performance\u00a0 as opposed to preprocessed\u00a0 sounds that are overdubbed during a performance), Cage’s Cartridge Music<\/i> being an early example. Spectral music (G\u00e9rard Grisey and Tristan Murail) is a further development of electroacoustic music that uses analyses of sound spectra to create music. Cage, Berio, Boulez, Milton Babbitt, Luigi Nono and Edgard Var\u00e8se all wrote electroacoustic music.<\/p>\n

From the early 1950s onwards, Cage introduced elements of chance into his music. Process music (Karlheinz Stockhausen Prozession<\/i>, Aus den sieben Tagen<\/i>; and Steve Reich Piano Phase<\/i>, Clapping Music<\/i>) explores a particular process which is essentially laid bare in the work.\u00a0The termexperimental music was coined by Cage to describe works that produce unpredictable results, according to the definition “an experimental action is one the outcome of which is not foreseen.”\u00a0The term is also used to describe music within specific genres that pushes against their boundaries or definitions, or else whose approach is a hybrid of disparate styles, or incorporates unorthodox, new, distinctly unique ingredients.<\/p>\n

Primitivism etc.<\/strong>
\nImportant cultural trends often informed music of this period, romantic, modernist, neoclassical, postmodernist or otherwise. Igor Stravinsky and Sergei Prokofiev were particularly drawn to primitivism in their early careers, as explored in works such as The Rite of Spring<\/i> and Chout<\/i>. \u00a0 Dmitri Shostakovich, reflected the social impact of communism and subsequently had to work within the strictures of socialist realism in their music. Other composers, such as Benjamin Britten (War Requiem<\/i>), explored political themes in their works, albeit entirely at their own volition. Nationalism was also an important means of expression in the early part of the century. The culture of the United States of America, especially, began informing an American vernacular style of classical music, notably in the works of Charles Ives, John Alden Carpenter, and (later) George Gershwin. Folk music (Vaughan Williams’ Five Variants of Dives and Lazarus<\/i>, Gustav Holst’s A Somerset Rhapsody<\/i>) and Jazz (Gershwin,\u00a0Leonard Bernstein, and\u00a0Darius Milhaud’s La cr\u00e9ation du monde<\/i>) were also influential.<\/p>\n

In the latter quarter of the century, eclecticism and polystylism became important. These, as well as minimalism, New Complexity, and New Simplicity, are more fully explored in their respective articles.<\/p>\n","protected":false},"author":2162,"menu_order":1,"template":"","meta":{"_candela_citation":"[]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-1584","chapter","type-chapter","status-web-only","hentry"],"part":1581,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1584","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/users\/2162"}],"version-history":[{"count":22,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1584\/revisions"}],"predecessor-version":[{"id":2978,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1584\/revisions\/2978"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/parts\/1581"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapters\/1584\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/media?parent=1584"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/pressbooks\/v2\/chapter-type?post=1584"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/contributor?post=1584"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-json\/wp\/v2\/license?post=1584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}