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Charles Ives
1906
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Separated ensembles, varied time signatures, dialogue. |
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Anton Webern
Solo piano
Serialism with symmetrical rows. |
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Quatour pour la fin du temps |
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Olivier Messiaen
Clarinet, piano, violin, and cello Use of medieval isorhythm, bird calls |
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Mode de valeurs et d’intensites |
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Olivier Messiaen
Solo piano.
Premiered at Darmstadt
Basis of Boulez’s Structure 1a. First piece to use integral serialism; duration, pitch, and dynamics serialized. |
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Edgard Varese
First all-percussion composition.
Use of textural changes. |
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Edgard Varese
Solo flute
Use of motivic unity |
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First Construction in Metal |
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John Cage
For six percussionists.
Numerology utilizing the number sixteen. |
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Henry Cowell
Solo piano
Extended technique- playing directly on piano strings. |
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Three Compositions for Piano |
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Milton Babbitt
Solo piano
Total serialism: rhythms and dynamics serialized.
Forerunner to Messiaen’s Mode de Valeurs |
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Milton Babbitt
Solo Horn
Use of arrays- several rows going on in different registers. |
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“Who Cares if You Listen?” |
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Milton Babbitt
The composer as specialist/academic. |
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Karlheinz Stockhausen
Piano, oboe, bass clarinet, three percussionists.
Serialized rhythmic ostinati
Integral serialism. |
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Benjamin Britten
Opera based on short story by Henry James
Tonal/falling fifths serial row.
Key center shifts throughout opera |
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Sonata for Flute, Oboe, Cello, Harpsichord |
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Elliott Carter
Antiphonal texture, historicism, klangfarbenmelodie |
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Sonata No. 1 for Prepared Piano |
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John Cage
Similarities to gamelan. Binary form. Square-root method of composition. Numerology.
Strict control. |
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Igor Stravinsky
Trombones and string quartet.
Serialism using only five tones per row. |
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Lukas Foss
Soprano and orchestra
Text uses time motives. Improvisation between movements. |
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Igor Stravinsky
Ballet score for 12 dancers
Stravinsky’s first 12-tone piece with 12 tones. |
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Pierre Boulez
Post-tonal flagship
Based on 12-tone rows, but not entirely.
Contralto, alto flute, viola, guitar, vibraphone, xylophone, percussion. |
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John Cage
Drawn from star charts.
For orchestra with electronic scrambling.
Audience walks out. |
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Karlheinz Stockhausen
Solo piano
Aleatory choice of segments. |
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Pierre Boulez
Solo piano
Random ordering of movements. |
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Futurist author
“Sketch of a new aesthetic” |
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Futurist author “The Art of Noises” |
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Olivier Messiaen
Uses the ondes martenot, one of the first synthesizers. |
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Pierre Schaffer and Pierre Henri (RTF studios) |
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Concert of Noises Broadcast |
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5 electronic pieces by Pierre Schaffer based on railroads. |
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Herbet Eimer and Werner Myer-Eppler at NWGR in Koln. |
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Karlheinz Stockhausen
First electronic piece to be notated. |
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Otto Luening
Electronically manipulated alto flute. |
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Vladimir Ussachevsky
Radio-like signal sounds |
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Hugh Le Caine
Electronically manipulated water-drop sounds. |
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Karlheinz Stockhausen
Piano, percussion, and recorded tape. |
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Karlheinz Stockhausen
Electronically manipulated boy’s voice. Transformation of speaking. Integral serialism of density, sounds, frequency. |
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Karlheinz Stockhausen
Solo percussion.
Aleatory spiral-bound notation. |
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Gyorgy Ligeti
Use of synthesized “language,” use of phonemes |
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Edgard Varese
Written to be played in the Phillips Paviliion at the 1958 World’s Fair. |
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Edgard Varese
Combines live performers with electronic music. |
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Mario Davidovsky
Total of 8 synchronisms (No I is for flute) for solo instrument and electronic tape. |
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Milton Babbitt
Written for Bethany Beardslee
For singer and synthesizer |
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Silver Apples of the Moon |
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Morton Subotnik
Commissioned by Nonesuch Records, Inc., for RCA Synthesier |
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Any Resemblance is Purely Coincidental |
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Charles Dodge
Piano and tape (of electronically manipulated Caruso) |
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Mark Wingate
Music concrete of car noises |
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Luciano Berio
Voice, harp, two percussionists
Uses poetry of e.e. cummings |
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Karlheinz Stockhausen
Two teams, three players each, play tam-tam and manipulate electronically. |
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Luciano Berio
Solo voice. Very extended techniques. Begins with off-stage muttering.
Composed for Cathy Berberian |
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Aventures and Nouvelles Aventures |
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Gyorgy Ligeti
Vocal trio and 7 instruments. Phonetically composed. |
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Conlon Nancarrow
Experimented with player piano. |
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Eliott Carter
Instruments exhibit their own distinctive personalities to form dialogue. |
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Conlon Nancarrow
Experimented with player piano. |
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Eliott Carter
Instruments exhibit their own distinctive personalities to form dialogue. |
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Iannis Xenakis
Orchestra
Stochastic randomness contained. |
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Iannis Xenakis
String quartet
Use of sound masses and stochastic music. |
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Gyorgy Ligeti
Tone clusters. Sound mass. |
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Witold Lutoslawski
Use of aleatory and controlled characteristics. Use of chain form. |
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Eight Songs for a Mad King |
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Peter Maxwell Davies
Pierrot Lunaire influenced. Theatrics, graphic notation.
Baritone, flute, clarinet, violin, cello, harpsichord |
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Chou Wen-Chung
Solo piano
Use of pentatonic scale, Eastern influences, chi’in elements. |
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Toru Takemitsu
Western orchestra with shakuhachi and biwa. |
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Lou Harrison
Cello and violin with gamelan |
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The SIlence Past Lonliness |
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Michael Bakan
Gamelan, cello, narrator |
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Invented instruments: cloud chamber, boo, cone gongs etc. |
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Steve Reich
Purely percussion
Influenced by Ghana drumming
Uses additive and subtractive phasing. |
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John Cage and Lejaren Hiller
Use of electronic tapes and 1-7 harpsichords. Scrambles quotation from Mozart up through Cage and Hiller |
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Ancient Voices of Children |
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George Crumb
Soprano, boy soprano, oboe, mandolin, harp, electric piano, three percussionists
Tribal feel, allusion to music of other cultures. Graphic notation. |
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Peter Schat
Dutch response to WWII, uses highly political text by Adrian Mitchell.
Use of 9 electric guitars due to Dutch government’s banning of them.
Solo vocalist, six humming tops and four instrumental groups of miscellaneous orchestration.
Theatrics. Hall itself turns into mad house. Tops used to denote craziness. |
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Mark Wingate
Use of electronically manipulated phone sounds. |
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Rituel in Memoriam B. Aderno |
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Pierre Boulez
Alternation of texture. Use of additive phasing: 1 oboe, two clarinets, 3 flutes, 4 violins, etc.) |
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Luciano Berio
Electronic manipulation of Berberian reading from Joyce’s Ulysses. |
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Big blocks of sound in indefinite order. |
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Earle Brown
Very graphic notation. Any instrument. |
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