UNIT V - Class 36
- 1. From Dualisms to Spectrums Rather than entertaining convenient binaries, the complex and diverse nature of music in the 20 th century may be more conducive to thinking in term of a spectrum Traditional/Conservative Composers working in established, recognizable forms and styles Includes various “neos”: Neo-Classicism, Neo-Romanticism Progressive Composers consciously exploring new techniques and approaches, but conceiving of their work as an extension or natural development of mainstream western art music Avant-Garde Musicians exploring nontraditional and alternative approaches and methods – reconsidering the very nature of musical experience
- 2. Europe Benjamin Britten (1913-1976) British Essentially conservative Wrote in all major genres Strong vocal composer Important composer of operas Luciano Berio (1935-2003) Italian Early association with Darmstadt Broad musical interests Master of multiple styles and techniques György Kurtág (b. 1926) Hungarian Unique, personal composer Experimental Interests ranging from electronic music to folk elements Extended techniqes Krzysztof Penderecki (b. 1933) Polish Avant-Garde Like Ligeti, explored sound clusters Developed unique form of notation Later turned to neo-Romanticism
- 3. America In the US, composers in the second half of the century have two obvious options: Academic Serialism – an extension of Schoenberg’s accomplishment, though independent, something like an American version of the Darmstadt School Neo-Classicism – an extension of Stravinsky’s middle period, tonal as opposed to atonal; implies a conservative approach which locates the music in reference to established forms and styles, more popular and accessible Or: Experimentalism – a controversial and professionally insecure “ third way” – coming out of Ives, Cowell, and Partch, composers explore various nontraditional styles and approaches Leonard Bernstein (1918-1990)
- 4. FLUXUS Major influences : Cage, La Monte Young, Duchamp, Dada Major exponents : Nam Jun Paik, George Brecht, Dick Higgins, Yoko Ono A response to the revolutionary implications of Cage’s life and work Nearly as much a social philosophy as an aesthetic project Formed in the 1960s by an international group of musicians who believed that the composer should not have a professional status in society, and that all music should be accessible to everyone (accessible economically, but not necessarily intellectually) Less significant as an organization than as a catchword for a new avant-garde orientation based on unconventional attitudes towards music and performance, and breaking down the barriers between the arts and between artists and society La Monte Young (b. 1935) George Brecht (1026-2008)
- 5. MINIMALISM Distinct from the movement in visual arts with the same name New compositional procedure pioneered by Terry Riley, Steve Reich, and Philip Glass A response to the technical convolutions of academic and total serialism, as well as the intellectual aloofness of Fluxus A conscious reduction in musical materials Pattern and repetition Gradual change Harmonic language is generally accessible Steve Reich (b. 1936)
- 6. The US, a Little Later Multiple streams of musical composition open up throughout the 70s, and later The previous options are still available: academicism, experimentation, conservatism Two important strains: Post-Minimalism – utilizes the technical procedures associated with minimalism, but in a looser, freer manner, to serve various compositional agendas Neo-Romanticism – a self-conscious return to the straightforward lyricism and expressivity associated with 19 th -century romanticism, but with the benefit of developments in technique David Lang (b. 1957) David Del Tredici (b. 1937)