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Music Since 1945

Music Since 1945. Intro Part II. Characteristics of post-1945 music. Part I Increased used of 12-tone system Extension of serialism Chance music Minimalist music Frequent use of quotation Part II Return to tonality by some composers Electronic music Use of “noise” Mixed media

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Music Since 1945

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  1. Music Since 1945 Intro Part II

  2. Characteristics of post-1945 music • Part I • Increased used of 12-tone system • Extension of serialism • Chance music • Minimalist music • Frequent use of quotation • Part II • Return to tonality by some composers • Electronic music • Use of “noise” • Mixed media • New concepts of rhythm and form

  3. Return to tonality • Composers trained in twelve-tone techniques found tonality to be a fascinating “new” option • Some works are tonal, while others are atonal with chord progressions that give a fleeting sense of tonality • Could also be looked at as a reaction against serialism

  4. Electronic music • As varied as non-electronic music • Synthesizers, tape, and computers allowed composers to manipulate sound directly • Sometimes combined with human performers in a number of ways • Human performer accompanied by recording • Piece is recording of a person playing • Electronic instruments and sampling of instruments becomes common

  5. Increased use of “noise” • Composers begin to use new sounds in composing • Sounds can be created using extended techniques • Flute player clicking keys • Piano player reaching in a plucking piano • New notation developed to use these new sounds • Composers used microtones in new music, which are intervals smaller than a half step • Direction sound is projected becomes important

  6. Mixed media • Music is presented with visual counterparts • Slide projects, light shows, gestures, and theatrical action • Composers ask performers to double as actors • Intended to break down the traditional concert and increase communication between the composer and audience

  7. New Rhythm and Forms • Increased use of unusual and mixed meters • Some composers abandon use of meter and rhythm all together, preferring absolute units such as second • Form is no longer absolute, and composers allow the piece develop without holding to a rigid structure

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