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Part 6Tradition and Innovation in Concert

Music

Chapter 20: Experimental Music: Revolution

America’s Musical Landscape 6th edition

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 2

Tradition and Innovation in Concert Music Music for the Concert Hall

An unprecedented diversity of concert music styles flourished in the twentieth century

Some American composers took an evolutionary approach to the composition of music

Bridging European tradition and a distinctly American voice

Others had a revolutionary approach Expanding the known boundaries of music

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 3

Tradition and Innovation in Concert Music Interaction between the Arts

Close interaction between visual and literary artists extended to music and dance

Multimedia Performances Interdisciplinary Inviting the audience to participate in ‘happenings’

Relationships between the Visual Arts and Music Texture and timbre

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 4

Tradition and Innovation in Concert Music The Value of Chance

During the 1950s and 1960s, the idea of leaving elements of their work to chance appealed to many visual artists and musicians

American Concert Music There is no unifying Western musical language A multiplicity of musical tongues

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 5

Experimental Music: Revolution Charles Ives (1874-1954)

Owned successful insurance business Strong literary interests Wrote instrumental music – program music

reflecting his New England home Wrote about 150 songs

often quoting melodies from other musical sources

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 6

Listening Example 67General Putnam’s Camp

(from Three Places in New England)

By Charles Ives (1874-1954)

Listening guide page 357

TImbre: Symphony orchestra

Texture: Linear polyphony in which each melodic line should be heard independently. The resulting combination of tones is not intended to be heard as harmony.

This exuberant piece from1914 included snatches ofpatriotic tunes which thecomposer altered, distortedand layered to create anintriguing sound.

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 7

Listening Example 68At the River

By Charles Ives (1874-1954)

Tune and Text by Robert Lowry (1826-1899)

Listening guide page 359

Texture: Basically homophonic

Form: Verse-chorus

Meter: Quadruple

Ives borrowed the musicand lyrics for this 1916 song from a hymn titled“Beautiful River.” He had used part of this melodyearlier in his Sonata for Violin and Piano no. 4.

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 8

Other Characteristics of Ives’ Music Unusual tuning that creates the effect of

sounding out of tune Bitonality – 2 keys at once Polytonality – many keys at once Polyrhythm – combination of 2 or more

rhythmic patters Quarter tones and Microtones

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 9

Ives’ Place in History Ill health prevented Ives from continuing his musical

explorations after the 1920s Twenty year later his music came to public attention His Third Symphony, written about 1904 and first performed

in 1947, won a Pulitzer Prize Many of his innovations have become part of today’s normal

music experience Still sound fresh

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 10

Henry Cowell(1897-1965) Early compositions use tone clusters

Piano experiments

Inspiration and ideas from Asia

Rhythms divided by 5, 7 or other unconventional numbers

Collaborated with Leon Theremin and developed the rhythmicon

Founded quarterly journal called “New Music”

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 11

Listening Example 69The Banshee

By Henry Cowell

Listening guide page 363

Timbre: Piano, played mostly on the strings, the timbre altered by Cowell’s experimental techniques

Meter: Free

Form: Through composed

Two musicians are neededto perform this piece – oneseated at the piano whiledepressing the damperpedal, and the otherstanding in the crook of thepiano, manipulating thestrings.

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 12

Concrete Music

Experimental movement in Paris in the 1940s. Included these compositional processes: Selecting the sounds to be taped Recording the sounds Manipulating the sounds Mixing the sounds “Montage” – cutting and pasting the tape

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 13

John Cage(1912-1992) Addressed musical problems and questions like an inventor

Interested in Asian philosophies, religions and musical styles

Was inspired by Gamelan Music An Indonesian orchestra of metallophones (sets of keys

suspended over a frame and struck with mallets), gongs and drums

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 14

Listening Example 70Hudjan Mas (Golden Rain) (excerpt)

Anonymous

Listening guide page 368

Texture: Linear polyphony

Timbre: A 25-piece orchestra of xylophone-like bronze-keyed instruments, tuned gongs, cymbals, drums, and flutes

Meter: Free

Form: A series of simultaneous variations over repeated ostinatos

This composition for BalineseGamelan Gong Kebjar often Serves as a prelude or instrumental interlude in a longer dance composition.

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 15

John Cage: Prepared Piano

Prepared piano Modified or ‘prepared’ the piano by applying

wood, metal, or rubber to the strings Created percussive timbres and indeterminate

pitches Cage composed several independent

compositions for prepared piano Sonatas and Interludes – sixteen sonatas and four

interludes, considered his masterwork

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Part 6: Tradition and Innovation in Concert Music

Chapter 20: Experimental Music: Revolution 16

Listening Example 71Sonata V

(from Sonatas and Interludes for Prepared Piano)

By John Cage (1912-1992)

Listening guide page 370

Timbre: The piano is prepared so as to produce wooden and metallic sounds similar to those of a gamelan

Meter: Duple

Form: Binary (two-part): aabb

This piece is organized according to rhythmicallycomplex patterns.