1 / 21

Starting from Scratch

Starting from Scratch. Music in the Aftermath of World War II. Zero Hour: The Impact on the Arts. Cold War Crisis in the arts Divide between “high” and “low” art became greater Stunde Null (Zero Hour): time without a past Serialism

tuyen
Télécharger la présentation

Starting from Scratch

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Starting from Scratch Music in the Aftermath of World War II

  2. Zero Hour:The Impact on the Arts • Cold War • Crisis in the arts • Divide between “high” and “low” art became greater • Stunde Null (Zero Hour): time without a past • Serialism • Pierre Boulez (b. 1925), “Schoenberg est mort” (Schoenberg Is Dead, 1952)

  3. Total Serialism:Messiaen’sMode de Valeurs et d’Intensites • Mode de Valeurs et d’Intensites (1949) [Anthology 3-49] • “hypostatization” • Influence on “total serialism” • Boulez, Structures for two pianos (1951) [Anthology 3-50]

  4. Darmstadt • InternationaleFerienkursefürNeueMusik(International Summer Courses for New Music) • influence of Anton Webern • Pierre Boulez (b. 1925) • Karlheinz Stockhausen (1928–2007) • Bruno Maderna (1920–1973)

  5. Indeterminacy: John Cageand the “New York School” • American counterpart to the European avant-garde • John Cage (1912–1992) • “The Future of Music: Credo” (1940)

  6. Music for Prepared Piano • Bacchanale (1940) [Anthology 3-51] • Sonatas and Interludes (1946–48) • Influence of Zen Buddhism • Daisetz Suzuki (1869–1966)

  7. Influence of I Ching“Book of Changes” • Music of Changes (1951) • Boulez, Aléa(from the Latin for dice) • aleatoric, chance operations or spontaneous decisions

  8. Silence • 4’33” (1952) • “Tacet for any instrument or combination of instruments”

  9. “Permission”: Cage’s Influence • Robert Rauschenberg: Cage “gave me license to do anything.” • Morton Feldman: Cage gave everybody “permission.” • Earle Brown (1926–2002) • “graphic notation” • “Happenings” • Fluxus

  10. Preserving the Sacrosanct:Morton Feldman • Morton Feldman (1926–1987) • “Free rhythm notation” • Rothko Chapel (1971) [Anthology 3-52]

  11. Conversions • Aaron Copland • “popular” and “difficult” styles • Piano Quartet (1950) • Piano Fantasy (1957) • Connotations (1962) • Igor Stravinsky • assistance of Robert Craft (b. 1923) • Requiem Canticles (1966) [Anthology 3-53]

  12. Academicism, American Style • Milton Babbitt (1916–2011) • Princeton University • trained in mathematic, logic, and music • “set theory” • “pitch class,” “aggregate,” “combinatorial” • Composition for Four Instruments (1948) [Anthology 3-54]

  13. Electronics: An Old Dream Comes True • EdgardVarèse • Cage, “The Future of Music: Credo” • Italian Futurists • Theremin • 1920, Lev SergeyvichTermen (1896–1993) • Ondesmartenot • Maurice Martenot (1898–1980)

  14. MusiqueConcrèteversusElektronische Music • MusiqueConcrète • using real-world sounds • Pierre Schaeffer (1910–1995) • Concert de bruits (Concert of Noises, 1948) • Étude aux chemis de fer(Railroad Study) • Étude aux casseroles (Saucepan Study) • Pierre Henry (b. 1927) • Orphée 53 • LucianoBerio • Thema“Omaggio a Joyce” (1958)

  15. MusiqueConcrèteversusElektronische Music • Elektronische Music • music based exclusively on synthesized sounds • Herbert Eimert (1897–1972) • Stockhausen • Studien(1953,54)

  16. MusiqueConcrèteversusElektronische Music • Use of both • Stockhausen • GesangderJünglinge(1956) • Hymnen(1967)

  17. The New Technology Spreads • “Computer music” • Columbia and Princeton Universities • “transducer” • converts audio signals to digital • RCA Mark II music synthesizer • Varèse • Déserts (1949–54) • Poèmeélectronique(1958)

  18. Electronics and Live Music • Mario Davidovsky (b. 1934) • Synchronisms • for electronic sounds with a live, virtuosic performer on a variety of instruments or voices • GyörgyLigeti • Atmosphères • originally for electronics, rewritten for “large orchestra without percussion” • Krzysztof Penderecki (b. 1933) • Threnody for the Victims of Hiroshima (1960) • “sonority piece”

  19. Music in History:Elliot Carter • (b. 1908) • “Philosophic conceptions” in “Music and the Time Screen” (1971) • “Metrical modulation” • First String Quartet (1950–51) [Anthology 3-55] • fixed vs. fluid tempi

  20. Carter’s Later Career • Variations for Orchestra (1953–55) • Second String Quartet (1959) • Pulitzer Prize winner • Third Quartet (1971) • Pulitzer Prize winner • Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961) • What’s Next? (1999) • one-act comic opera

  21. “Who Cares If You Listen?” • Milton Babbit, 1957 article in High Fidelity • “The Composer as Specialist” • “Should the layman be other than bored and puzzled by what he is unable to understand, music or anything else?”

More Related