EXTENSION OF EARLIER TRADITIONS:

-Impressionism: French style of music that began with painting-- color is important, they fade into one another. Timbre and
contour are melded, gives a fleeting glance
-Debussy(Fr.! "ntered #aris $onserve at %&, hated to be called an impressionist, 'a (er, )mages
-*avel(Fr.! Daphnis et $hloe +uite ,o. -
-Neo-Classicism: . return to old ideas characteri/ed by %0
th
century music! bustle, clear pulse, clear melodies in one section,
very con1unct, clear cadences
-+travins2y(*us.! (usically influenced by his father, studied with *ims2y-3orso2ov, neo-classicism
came later in his compositional life. #ulcinella +uite
-*avel(Fr.! 'e Tombeau de $ouperin
-#oulenc(Fr.! 4egan piano at 5, heard *ite of +pring at %6. +maller ensembles, melodic emphasis,
dis1unct lines but they don7t really sound it. $oncerto for organ, strings.
-8indemith(9.! "arly:late stage of his career;used intentional composition in the middle. (athis der (aler.
-Mainstream/Conservative: $ontinuing what was occurring in %<
th
century with some e=tension but no radical change.
-(ahler(9! $omposer:conductor, 2nown for symphonies and songs. >ery transitional, not sudden. +ymphony ,o. -
in c minor;long phrases, use of all instruments.
-+trauss(9! ?oung piano player at 6, composer at @. Father was musician. 3nown for tone poems and operas, very
programmaticA Death and Transfiguration
-(ilhaud(Fr! +tudied in 4ra/il for two years, large 1a//:latin influence. 'e +i= B scandals with The 4ull on the
*oof. 'a $reation du (onde- sa=ophone includedA
-4arto2(8ung! >irtuoso pianist, didn7t really have signature style. (i2ro2osmos:string Cuartets were pedagogical,
very into fol2 songs. +tring Duartet ,o. 6
-+hosta2ovich(*us!'eading *ussian composer, %5 symphonies with a lot of political:personal conte=t in subtitle.
$onstantly in trouble with #*.>D.. +ymph 5.
-#ro2ofiev(*us! Travelled outside of *ussia, not as much gov clashing as +hosty. ?oung composer, some traces of
neo-classicism. +ymph 5
-$opland(E+! +on of Fewish immigrants, studied with ,adia 4oulanger. $lassic .merican sound with 1a//:latin
)nfluence. #iano >ariations:.ppalachian +pring
-4arber(E+!Gon two pulit/er pri/es, had no particular style but composed reflecting upon what he was
doing:reading. #iano $oncerto Hp. I0
-9ershwin(E+! 'ived in 4roo2lyn and began career as song plugger, wrote first musical (Hf Thee ) +ing and died of
a brain tumor. #rolific for his short life. .merican in #aris.
-4ernstein(E+! .ppointed music director of ,? #hil, used both popular music and art music, and large advocate for
the arts. $hichester #salms.
->aughn Gilliams("! Foremost "nglish composer, studied orchestration with *avel. "dited ,ew "nglish 8ymnal B
H=ford boo2 of carols, < symphony syndrome.
-Galton("! $hoirboy and student at H=ford, e=plored many different styles including %- tone but stayed tonal.
+ithwell family important for JJA 4alsha//ar7s Feast.
-4ritten("! #rimarily choral wor2s, songs, and operas. (any different influences. Flair for the dramatic, +erenade
for Tenor, 8orn, and +trings.
EXPERIMENTAL:
-Multimedia/Performance Art: Theatrical art with multi-media. 4egan with Dadists:Futurists in early -& c. (ore popular in
K&s and 0&s.
-'aurie .nderson(E+! Esed many many mediums of performance, came up with her own instruments:devices.
(inimal style with a lot of repetition, but tells stories in her songs.
-Indeterminacy: The idea of leaving certain aspects in music to chance, either by the composer or performer.
-,ew ?or2 +chool! Fohn $age, (orton Feldman, $hristian Golff, "arle 4rown, David Tudor.
-$an change pitch, timbre, structure, durations, dynamics
-Futurism/Dadism:(ovements of forward thin2ing beginning in France and +wit/erland in the %<%&s. $hallenging the times
that they were living inL began with art and then moved to music.
-+atie(Fr! #arade
-.ntheil(Fr! 4allet (ecaniCue
SERIAL:
-12 one: Hrgani/ation of pitches by rows of twelve tones, created by +choenberg and then taught to his students.
-+choenberg(.us! 4elieve that atonal music was unavoidable given how music was changing. 4egins as post-
*omantic, but Cuic2ly moves to atonality and then %- tone rows. 4ig e=pressionist, sprechstimme--#ierrot 'unaire.
-Gebern(.us! 'earned from +choenberg, but disconnects e=pressionism from atonality. Does atonal and then moves
to %- tone. +mall ensembles with uniCue instrumentation and very short wor2s. +ymphony Hp. -%
-4erg(.us! +tudied with +choenberg but never went deep into %- tone rows, stuc2 with atonality with some tonal )
mplications. )nterested in e=pressiveness, wrote operasA >iolin $oncerto.
-!erialism:
-(essiaen(Fr!)nterested in going a new musical direction. 4roadly falls under serialism, more seriali/ed later in life.
.dded value rhythms, augmented:diminished rhythms, birdsongs, very colorful. Duartet for ".H.T.
-4oule/(Fr! )nterested in both math and music. +tudied music, thought that composition should be analytical,
interested in structures. +et up )*$.( in #aris, was a conductor. 'e (arteau +ans (aitre.
-+toc2hausen(9! +tudied with (essiaen and then branched off into cra/y town (religion. ,o standard ensemble
groupings, into electronic music, points of color are important. 9esang de Funglinge, My2lus.
-4abbitt(E+! Grote for the sa2e of writing, not for any particular en1oyment of the audience. $ompletely seriali/ed.
,ever considered emotions, only analytical side. Three $ompositions.
NEW SOUND RESOURCES:
-Instrument "#ploration:
-$owell(E+!+elf-taught musician, supported )ves7 music who funded his e=periments. "=perimented with the piano
before $age did. (ost important innovator b:t )ves B $age.
-#artch(E+! )nstrument-ma2er who created his own 6I-tone scale. >ery individualistic, created the boo, cloud
chamber bowls, /ymo-/yl, ma/da marimba, and adapted the viola and guitar by lengthening fingerboard.
-$age(E+! +HE,D )+ +)'",$":.'' .*HE,D E+. $reated a percussion ensemble, was very accessible to young
composers, used prepared piano and valued the noise, not the pitch. )nnovated through the ages. +onata:interludes
-4erio()t! 4egan to view instruments timbrally, used a whole ton of e=tended techniCues. #iano taught by dad:gpa.
$onnected with $athy 4erberian. +eCuen/as, +infonia.
-$rumb(E+!Fu=taposing contrasting musical styles, hand notated all of his scores. Grote amplified string Cuarted as
well as .ncient >oices of $hildren
-#enderec2i(#ol! #ianist who had no understand of Gestern musical world. 8e used e=periments in notation, time,
and instrumental techniCues. Threnody for 8iroshima.
-'igeti(*om! Gor2ed for an electronic music studio in $ologne and used very thic2 sound clusters. >ocal and non-
vocal, 'u= .terna and .tmospheres.
->arese(Fr! Grote pieces with unusual names and had very repetitive motives, also was into electronic music.
)ntegrales, #oeme "lectroniCue
-"lectroacoustic:
-(usiCue $oncrete! found sounds, began in France. "urope was the hot spot for all electronic music to begin with
and was supported fully by the governmentA
-$lassical "lectronic (usic! all sounds are electronically generated, started in 9ermany. 3H', with +toc2hausen.
-+ynthesi/er:$omputer (usic! self-contained electronic system where wave is generated, modified, and organi/ed in
real time.
BACK TO TONALITY:
-$uotations:
-)ves(E+! Gor2ed in both insurance and music, was very rich and used that to fund pro1ects of others. "ventually got
burnt out and stopped composing all together. #rolific, comple=, popular songs. #iano +onata, ,ew "ngland #ieces.
-Minimalism:
-*iley(E+! Gor2ed in +an Francisco Tape $enter, did all-night concerts w: tape loops. 4egan minimalism with )n $.
-*eich(E+! Focused on ensemble of the same 2ind, minimalist composer who also studied drumming in .frica.
Drumming: $lapping +ong.
-9lass(E+!( +tudied with ,adia 4oulanger, was interested in operas about men who could change the world. )slands.
-.dams(E+! 4egan as minimalist, but moved away from it as he aged. $omposed 6&N +wing as well as an opera
about #resident ,i=on going to $hina.
-Ne% !implicity/&oly Minimalism:
-9orec2i(#ol! Hvershadowed by other composers of his nationality, his music became big after the 4erlin Gall came
down. +ymphony ,o. I
-#art("stonian!*ecieved government critiCue for his wor2, pushed bac2. *ussian Hrthodo=y was his religion, used
open intervals. Tintinnabuliation. Te Deum
-Taverner("! +tudied piano, organ and compostion O *oyal .cademy. (et *ingo +tarr B Fohn 'ennon. Eses chant-
li2e melodies.
JAZZ: