Discuss
the
principal
political
events
in
the
following
countries
during
the
1930s
and
1940s:
the
Soviet
Union,
Germany
and
the
German-?occupied
lands,
and
the
United
States. |
|
|
|
|
| Too sexual
Stalin hates this opera
Not socialist realism-
Division of classes
Sergey represents the working class- not morally correct
banned for many years after
Schos toned it down later |
|
|
|
| One that is manipulated- screws, paper, woodblocks |
|
| quartet for the end of Time by Messian |
|
Wrote it in a concentration camp- Gorlitz
-was an organist
-was mystical catholic
Nature vs. Heaven
Rhythmic and harmonic ostinatos would take 4 hours for them to line up again
(clarinet and violin-bird song
cello and piano- rhythmic ostinatos)
Hailed as a war hero after his return |
|
|
|
Soviet Union
music for everyone
made the Union look really good
equality for all
Bordering propoganda
How things are depicted- how the working class is depicted- their struggle is depicted with realism |
|
|
|
Right after the New Deal is put into place
Music for everyone
Using folk ideas
in the States
Federal Music Project- helps musicians |
|
|
|
New Objectivity (post expressionism)
reaction against expressionism
representative
static
quiet
smooth
representative
miniature
cool and cold
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
Hindemith |
|
|
|
Tone Rows- not only pitches, but rhythms and durations, the form itself, and instrumentation
serialism to the MAX |
|
|
|
John Cage
Chance music
Feldman, Earl Brown, Yoko Ono |
|
|
|
Same overall effect regardless of what order smaller events occur
math
Talked about Xenakis (coined the term) – mathmatician and composer and Architech (1950s/60s) |
|
|
|
Penderiski- Threnody: to the Victims of hiroshima
compositions based on blocks of sound (harmonic/texture) |
|
| Gebrauchsmusik and how Hindenmith relates |
|
Music for ameteurs
Hindenmith is sympathetic to the working class and all people
Music to sing and to play for everyone |
|
|
|
phrase=2+3+5+8=18
18*18=324 |
|
| Major figures in the development of total serialism |
|
|
| Figures of the Drumstadt School |
|
| Boulez, Maderna, Nano, Stockhousen |
|
| Figures of the New York School |
|
| John Cage, Yoko Ono, Morton Feldman, Earl Brown |
|
|
|
Pierre Schaeffer, Henry
(Xenakis works here for a while)
(stockhousen and Boulez are in and out)
“Musiqu Concrete” philosophy – all sounds are taken from real life (non-musical)
Change name to GRM later |
|
| Studio for Elektronicshe Musik (Germany) |
|
Werner Meyer Eppler and Herbert Eimert
Philosophy- All sounds are computer generated
“Electronicshe Musik” |
|
| Columbia Princeton Music Center (NYC) |
|
Ussachevsky and Luening
Babbit later gets involved
“tape music” |
|
|
|
| Any part of a musical work is indeterminate if it is chosen by chance, or if its performance is not precisely specified |
|
|
|
| summer course on new music in Germany |
|
|
|
Degenerate music (German: Entartete Musik) was a label applied in the 1930s by the Nazi government in Germany to certain forms of music that it considered to be harmful or decadent.
Against Serialism and Jazz |
|
|
|
| Government agency that created jobs for musicians |
|
|
|
essentially meaning “utility music,” for music that exists not only for its own sake, but which was composed for some specific, identifiable purpose
Hindenmith |
|
Groupe de Recherches
Musicales |
|
GRM- changed the name from Studio D’essai to GRM
Musique Concrete |
|