Right-click here to watch a YouTube video of an excerpt from near the start of the ballet This clip is a recreation of the original performance, scenery, and choreography. The French term avant-garde "at the forefront" is used to describe highly experimental approaches "on the cutting edge" of modern music. Non-Traditional Uses of Instruments and Voices. One of the most spectacular modern musical innovations has been the concept of using traditional instruments in unusual ways.
In this modern programmatic character piece for grand piano, one performer holds down the sustain pedal, while another performer creates a myriad of unusual sounds by directly manipulating the strings of the instrument.
In such works, CAGE strategically inserted objects like erasers, screws and nails between the strings of the piano to make it sound like an ensemble of completely different instruments. C hance Music. Music composed at random or based on an improvised selection of material is called chance music in other words, music in which aspects of composition or performance are left up to chance.
The best-known example of chance music is CAGE's 4'33" —a multi-movement work in which the performer makes no sound at all the real "sound" of the piece is created by the audience itself, and the noise of the concert hall. Think about it: The same performance heard by two different people can be perceived in two completely different ways. Is silence music?
Is there ever really silence? Doesn't every sound heard in the concert hall noise and music alike affect the way the piece is perceived by the listener?
Electronic Music. Computer-based Composition and Performance. In the s and 70s, with computers offering new possibilities for tone colors and complete structural control, mathematician-composers such as the Milton BABBITT a mathematics professor at Princeton wrote totally-serialized avant-garde works, in which all aspects rhythm, dynamics, melody, harmony, articulation, instrumentation, etc.
Total-serial works usually require such precise details that they can only be performed accurately by machines. Note: Although minimalistic works are based on small amounts of material, such works can be quite lengthy. Some modern composers have chosen to write in the traditional genres of opera , ballet , symphony , string quartet , sonata and concerto. Even so, most of these works are conceived in untraditional ways, with freer formal designs, unconventional harmonies and melodies, etc.
American Nationalism. In the s, a new generation of US composers set out to establish a national symphonic arts tradition; thus, Aaron COPLAND and others wrote symphonies , concertos and ballets , based on familiar American melodies, images and themes. Neo-Classicism the "New Classicism". Right-click here to watch a YouTube video of this work. Musical characteristics. Aesthetic aspects. Social and cultural aspects. World War I and its consequences.
Between the wars. World War II and after. The late 20th century. Bibliography See also. Show Summary Details Modernism. You do not currently have access to this article Login Please login to access the full content. Subscribe Please subscribe to access the full content. Oxford University Press. Theodor Adorno accused Igor Stravinsky's music of being a " pseudomorphism of painting.
The ballet became more respected during the modernist period, see Emile Jaques-Dalcroze , and the development of the film industry created a market and outlet for film composers such as communist Hanns Eisler who borrowed Brecht and Weill's ideas of alienation from the theater. Carter composes atonal music with complex rhythms and often highly individualized parts, but refuses to be confined by writing twelve tone or serial music.
The Seegers were communists, while Ives was, politically, blatantly populist, if androcentric, and considered that some insurance should be affordable for everyone. He petitioned William Howard Taft in to transform the presidential election into a national referendum. Schoenberg wrote a Zionist play about the establishment of a Jewish homeland in Africa.
Filippo Tommaso Marinetti was one of the first fascists in Italy. Igor Stravinsky abandoned the "Dionysian" modernism of his early work The Rite of Spring for a more "Apollonian" neo-classicism. Aaron Copland shifted from a highly dissonant modernist style to the populism of many of his works. As with many other arts, the consciousness of modernity appeared before music which is now labelled "modernist".
Mahler and Puccini both thought of themselves as modern composers and were concerned with their place in modern music. The end of the 19th century and beginning of the 20th century saw a host of harmonic, melodic and instrumental innovations in music, but in an effort to preserve and build upon the past, rather than radically alter it.
The defining break with the Victorian and Romantic tradition was the alliance of music with the depiction of new subjects, removing old unities, and with an intent to push the audience forward. The rise of musical modernism can be tied to the rise of expressionism, primitivism and cubism in the arts, Freudian theory in philosophy and the range of other artistic and scientific ideas which flowered forth from through the beginning of the First World War.
There was a conscious sense of seeing an analog between changes in music and changes in the other arts among the first wave of musical modernists. The transitional moment came with the introduction by Debussy and Ravel of an expanded chord vocabulary now labelled "impressionism", this movement in painting and music is generally regarded as transitional, because while the intent was aesthetic appeal, its means were a departure from the formal, some might say academic, norms which held in the arts.
While initially controversial, Impressionism became widely acceptable very quickly in all but the most conservative of artistic circles. However, the precedent for a radical break with previous technique had been set. Another transitional force was the synthesis by Richard Strauss and Gustav Mahler of the music of Wagner. By detaching Wagner's musical innovations from the setting of the musical drama, Strauss and Mahler excited a generation of composers eager to use the broader range of chromatic possibilities which their techniques offered.
A third, and less carefully examined, road into musical modernism was the progressively more percussive use of the orchestra found in both Italian opera and in Russian concert music. While Rimsky-Korsakov is not generally thought of as a precursor to Modernism, some of his innovations were influential on the young Igor Stravinsky as well as other young Russians of the early 20th century.
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