Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Prelude 7: Beyond Modernism? 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Prelude 7 Beyond Modernism?

The Postmodern Turn • No agreed-upon definition of postmodernism • Best to talk about several different departures from the principles of modernism • Experimentation: new media, new materials, new techniques • All art—highbrow or lowbrow—has the same potential for greatness

Prelude 7: Beyond Modernism?

Art, Film, Literature • Architecture trends toward decorative elements • Abstract expressionism freed painting from the need to imitate objects in the real world • New kind of Dadaist realism, pop art • Other postmodern categories – New classicism, minimalism, performance and multimedia art, earthworks

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Art, Film, Literature • Pluralistic attitude toward gender, sexual orientation, and ethnicity • Recognizable images, collage and quotation • Film – Godard, Fellini, Antonioni – Campion, Tarantino, Reggio • Literature – Doctorow, Márquez, Vonnegut – Angelou, Morrison, Tan – Rowling

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Music in a Postmodern World • • Mass media is compatible with art Cultural saturation of technology Musicals, film, and video game music Some continued on the path of Schoenberg, others developed the anti-rational element

Prelude 7: Beyond Modernism?

Music as Protest • Bob Dylan and Pete Seeger, the 1960 s civil rights movement • Vietnam War and the Woodstock Festival • 1980 s punk rock and rap • Musical feminism • Wars in Iraq and Afghanistan

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

New Technologies • Mid-twentieth-century electronic music – Musique concrète – Electronische Musik • Later the Moog synthesizer, the Yamaha DX 7, MIDI, and digital sampling

Prelude 7: Beyond Modernism?

Encounter: Music Technology • Technology can enhance the creative process • Tod Machover explores interactivity using technology – Hyperscore, Hyperinstruments • Machover also interesed in popular culture – Vinyl. Cello, sci-fi operas • Machover’s Hyperpiano concerto Jeux Deux mvt. III

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Prelude 7: Beyond Modernism?

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

New Sound Palettes: Mid-Twentieth. Century American Experimentalists • Musicians have always been expanding their sound-production resources • Some have reached to other cultures and/or inventiveness

Early Experiments • Henry Cowell (1897– 1965) combined Asian instruments with Western ensembles – Also piano works included tone clusters and playing on the piano strings directly • Harry Partch (1901– 1974), proponent of microtones – Developed a scale with 43 microtones – Built/adapted instruments to play it

The Music of John Cage • Eternally questing artist • New sounds and concepts • Idea of chance, or aleatoric, music

Sonatas and Interludes • Sixteen sonatas separated by interludes (LG 55) • For prepared piano – Materials inserted between the piano strings – Varied timbres

John Cage (1912– 1992) • • • Early interest in non-Western scales In 1938, invented the prepared piano Indeterminacy and chance music Explored the role of silence in 4'33" Raised profound questions about the nature of music

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

George Crumb and Avant-Garde Virtuosity • Avant-garde music requires a new breed of players and singers • George Crumb turns ordinary instruments (including the voice) into the extraordinary

Caballito negro (Little Black Horse) (LG 56) • Last of three songs in Crumb’s second book of madrigals, poetry by Lorca • scored for soprano, percussion, and flute/piccolo – Extended techniques

George Crumb (b. 1929) • Retired from composition faculty of the University of Pennsylvania in 1999 • Special affinity for the poetry of Lorca • Unusual vocal and instrumental effects • Creating new sonorities and exploring theatrical concepts

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Encounter: Javanese Gamelan • Westerners fascinated by gamelan since 1889 Paris World Exhibition • Orchestra of metallic percussion found on Indonesian islands of Java, Bali, and Sunda • Ritual ceremonies, court performances, and shadow-puppet theater (wayang)

Encounter: Javanese Gamelan • Shadow-puppet plays begin early evening and continue until dawn • In Javanese music, the interaction of the melodic movement with a cyclical rhythmic structure determines the form of the work

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 63: Staged Sentiment: Bernstein and American Musical Theater 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Staged Sentiment: Bernstein and American Musical Theater • American musical theater rooted in the U. S. • influential and popular all over the world • Themes tend to be current, relevant, and vital – One such theme is urban life

Musical Theater in North America • • Mid-1800 s Manhattan street called Broadway Minstrel shows giving way to vaudeville Vaudeville expanded into the variety show American musical theater developed from the variety show and the European operetta – More serious dramatic elements after 1940 s

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Leonard Bernstein and West Side Story • Bernstein dedicated his life to promoting concert music to the general public • West Side Story (LG 57) – A retelling of Romeo and Juliet – Street gangs Jets and Sharks – Star-crossed lovers Tony and Maria – Latin dance music and jazz

Interface: Music as Literature • Great literature has spawned countless ballets, operas, programmatic works, and musicals • The use of familiar literature helps engage audiences while exposing them to new sights and sounds

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Leonard Bernstein (1918– 1990) • Born in Massachusetts, went to Harvard and the Curtis Institute • Assistant conductor of New York Philharmonic; later music director • Straddles the worlds of serious and popular music • Vivid projection of NYC in his theater music

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 64: Less is More: Reich and Minimalist Music 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 64: Less is More: Reich and Minimalist Music

Less is More: Reich and Minimalist Music • The search for new musical “hooks” has been an ongoing one • One noteworthy approach comes from the tradition of process music and minimalism

Chapter 64: Less is More: Reich and Minimalist Music

From Twelve-Tone to Process and Phase • The scientific nature of serialism appealed to some • A new, also scientific way to approach stable harmonies was found in process music • Developed through technology into phase music • Phase music later by live musicians

Steve Reich (b. 1936) • Born in NYC, studied modernist composition at Juilliard • Wanted to write tonal music, pioneered process music • Studied West African drumming and Balinese gamelan • Judaic heritage central to many works

Chapter 64: Less is More: Reich and Minimalist Music

African Influence • In the 1970 s Reich’s approach shifted • Inspired by polyrhythm of West Africa • Led him to think about process music differently • Now known as minimalism

Chapter 64: Less is More: Reich and Minimalist Music

Electric Counterpoint (LG 58) • Last of a series of works he called “counterpoint”; this one for twelve guitars • Very different approach to harmony and complexity from goal-directed tonality • The “hook” is less the initial musical idea, but how that idea is gradually combined with itself

Chapter 64: Less is More: Reich and Minimalist Music

Encounter: East African Drumming • Europeans once viewed African music to be “primitive” • The royal drum ensembles of Uganda consist of both pitched and unpitched drums, with pentatonic melodies and polyrhythms

Chapter 64: Less is More: Reich and Minimalist Music

Chapter 64: Less is More: Reich and Minimalist Music

Chapter 64: Less is More: Reich and Minimalist Music

Chapter 64: Less is More: Reich and Minimalist Music

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings

Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings • Copyright laws have become increasingly strict • In earlier times, using material from another composer was considered a tribute

Bob Dylan as Singer-Songwriter • Dylan is an outstanding singer-songwriter • Musical style distinctive • Form and melody are always irregular and surprising • Lyrics are full of imagery, unusual forms and metric patterns

Bob Dylan (b. 1941) • Born in Minnesota • Moved to NY and met his idol Woody Guthrie • Made a name for himself as a songwriter and protest singer • In 1965 started using electric instruments, spawned a decade of experimentation • Dylan is still active today

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings

Dylan’s Mr. Tambourine Man (LG 59) • Song on the 1965 album Bringing it All Back Home • Opens with what reveals itself to be a refrain • Each line of the verses a different length, all end inconclusively • Successful cover version in 1965 by The Byrds – “folk rock, ” with added electric guitars and drums

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings

John Corigliano and the Contemporary Song Cycle • Corigliano writes music rooted in the language of the past • Also redefines genres • Often writes works for specific ensembles or individuals

Corigliano’s Mr. Tambourine Man • Sylvia Mc. Nair commissioned Corigliano to write a song cycle for her in 2000 • Used lyrics/poems of seven Dylan songs (but not melodies) • Originally for voice and piano, later orchestrated; songs unified by recurring motives • Prelude (LG 60) effervescent and quirky setting of the Dylan poem

John Corigliano (b. 1938) • Born in New York City into a musical family • Studied at Columbia and the Manhattan School of Music • Prestigious teaching positions in New York • Has won every distinguished award possible for his music, including an Academy Award and a Grammy • Writes in diverse styles

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty -First Century 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty. First Century

Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century • Neo-Romanticism – Embracing aspects of nineteenth-century orchestral sound, including program music • “Modernizing” the nineteenth-century orchestral tradition

A New Romanticism? • Romantic style of the 1800 s never really went away; still performed in concert halls • Some composers maintained a commitment to Romanticism, updating it – Samuel Barber’s Adagio for Strings • Reclaiming nineteenth-century harmonic and melodic language in a new context

Jennifer Higdon and blue cathedral (LG 61) • Higdon among the most widely performed living American composers – Richly neo-Romantic • Written in 2000, blue cathedral a tone poem – Personal grief over death of her brother • Maintains the tradition of program music

Jennifer Higdon (b. 1962) • Born in Brooklyn • Studied with George Crumb; inspired by the Beatles • Output spans most genres, described as having an “American” sound • Rooting in tonality, neo-Romanticism • Pulitzer prize in 2010; teaches composition at the Curtis Institute

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty. First Century

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty. First Century

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty. First Century

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 67: Underscoring Meaning: Music for Film 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 67: Underscoring Meaning: Music for Film

Underscoring Meaning: Music for Film • Multimedia often powerful; collaboration of several creative individuals • Dramatic musical resources pioneered onstage now transformed for the screen – Film, television, video games

Sound and Film • Music has played an indispensible role in memorable film moments • Reflects the emotions of a given scene • Creates irony through juxtaposition • Creates a sense of time and place • Two main types of music in film – Underscoring: comes from unseen source – Source music: music functions as part of the drama itself

Chapter 67: Underscoring Meaning: Music for Film

John Williams: Star Wars and Beyond • Mastery of leitmotif technique • Revival of the grand symphonic film score, accessible neo-Romanticism • Soundtrack for Star Wars remarkable achievement – Leitmotifs carried across prequels and sequels – Imperial March (LG 62)

John Williams (b. 1932) • Born on Long Island, New York • Composed for television in 1950 s; shifted to film in 1960 s • By the end of 1970 s was Hollywood’s foremost composer • Also composes classical symphonic works and was conductor of the Boston Pops Orchestra

Chapter 67: Underscoring Meaning: Music for Film

Chapter 67: Underscoring Meaning: Music for Film

Chapter 67: Underscoring Meaning: Music for Film

Tan Dun: Blending East and West • Tan Dun is a composer of both classical and film music • Score for Couching Tiger, Hidden Dragon won an Academy Award – Blending of Asian and Western music – Farewell (LG 63) combines two melodies representing a pair of lovers: one played by the cello, the other by an erhu

Tan Dun (b. 1957) • Born in China, grew up during Cultural Revolution • Inspired to explore Western music • His own music was banned in China, so he left for the United States • Works combine Chinese and Western styles and instruments

Chapter 67: Underscoring Meaning: Music for Film

Chapter 67: Underscoring Meaning: Music for Film

Chapter 67: Underscoring Meaning: Music for Film

Encounter: Video Games • Music plays an important role in gaming – Soundtracks as well as games for music-making • Source music provides feedback to a player’s actions • Underscoring adds intensity and meaning • Nobou Uematsu (b. 1959) – “Aerith’s Theme” from Final Fantasy VII (1997)

Chapter 67: Underscoring Meaning: Music for Film

Chapter 67: Underscoring Meaning: Music for Film

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy

Icons in Sound: Tavener and Postmodern Orthodoxy • After about 1800, Europeans embraced secular music and concert performances of sacred works • Much of the music we encounter today has a non-sacred purpose • But composers have never stopped focusing on spiritual goals

Spiritual Minimalism • Nonpulsed; chains of modal or tonal progressions, inspired by religious beliefs – Górecki, Pärt • Tavener infuses elements of neo-Romanticism with a devout spiritualism

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy

Tavener and Greek Orthodoxy • Tavener converted to Greek Orthodoxy • Eastern Christian Church separated from the Western in 1054 • Greek Orthodox chant uses microtones and irregular rhythms • Tavener’s music also relies on repetition and icons

John Tavener (1944– 2013) • Born in London • Early works show modernist influences • After converting to Greek Orthodoxy in mid 1970 s, refocused his attention to mystical topics • Expanded his style into instrumental genres • Later sought to combine the spiritual messages of many faiths

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy

A Hymn to the Mother of God (LG 64) • Scored for two six-voice choirs • Celebrates Mary as Mother of God • Use of drones and harmonies based on Greek Orthodox modes • Short repeating motives recall minimalism • Polyphonic choral writing inspired by Medieval and Renaissance church music

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION Chapter 69: Reality Shows: Adams and Contemporary Opera 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 69: Reality Shows: Adams and Contemporary Opera

Reality Shows: Adams and Contemporary Opera • Sometimes deeper truths are sought in stories based on fiction • But history has also always been represented in opera • Not meant to be a documentary

John Adams and Post-Minimalism • John Adams writes accessible and deeply expressive music • Minimalist style fused with neo-Romanticism

John Adams (b. 1947) • Educated at Harvard – Steeped in serialism, but listened to rock in dorm room • Moved to San Francisco; advocate for contemporary music • Began as a minimalist; gradual incorporation of neo-Romantic sumptuousness • Stage works often topical and controversial

Chapter 69: Reality Shows: Adams and Contemporary Opera

Doctor Atomic • Adams’s third opera focuses on the last days and hours before the first atomic test in 1945 – Hopes and fears, awe and trepidation – Act II chorus “At the sight of this” (LG 65) captures this tension, with text from the Bhagavad Gita • Hugely complex subject, combining science and art

Chapter 69: Reality Shows: Adams and Contemporary Opera

Chapter 69: Reality Shows: Adams and Contemporary Opera

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION http: //digital. wwnorton. com/enjmusic 12 s 12 TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis