Music History Final Study Guide

MUSIC 12 STUDY GUIDE: April 2nd, 2025

PART 1:

Program Music vs. Absolute Music

Program music is music meant to tell a story, a metaphor, or to go along with something

else. It's music in conjunction with something else.

Absolute music is music that exists for its own beauty. It exists because it's there. The

composer writes it because it is meant to be.

• Absolute music was most popular in the classical period.

• Program music made a comeback in the Romantic era.

• Some composers composed almost exclusively absolute music.

• Some composers composed almost exclusively program music.

• Some composers existed in both worlds.

• The boundaries between the two are often fuzzy.

• Nothing is "absolutely absolute" when talking about music.

Niccolo Paganini

• One of the most transformative violin players ever.

• His career mirrors Franz Liszt's in influence and fanbase.

• Driving goal of both program and absolute music: unattainable artistic heights.

• Unattainable yearning was common throughout all of romantic music.

• Paganini had a superhuman ability to play the violin.

• An extreme virtuoso for his time.

• Made the violin do things people didn't know it was capable of.

• Like Jimi Hendrix with the electric guitar, Paganini revolutionized the violin.

Showmanship and Persona

• Embraced the showmanship aspect of music, like Liszt.

• Rumor: sold his soul to the devil to play like he did.

• Leaned into the rumor, setting up moments to "summon the devil" with his music.

• Original Satan rock, like the band Ghost today.

• It was kitsch, over-the-top, rock and roll.

• He was also a sex symbol.

The Devil's Violinist

A clip from the movie "The Devil's Violinist" was shown, recreating a performance as it

would have occurred in the early 19th century.

• Historically accurate portrayal of a Paganini concert.

• Showed his showmanship and stage effects.

• Use of spotlight effects, special lighting effects, entering from the back of the

house, pyrotechnics.

• People were screaming and fainting, musicians copying his music.

Paganini: Virtuosity and Absolute Music

Paganini was a revolutionary figure known for his virtuosity. His pieces, such as his

concertos and caprices, exemplify absolute music, existing primarily as vehicles for

showcasing virtuosity.

Paganini's performances were a spectacle. He leaned into his persona, turning

his concerts into a show. He would pre-score his strings to break during the

performance, creating dramatic moments where he would continue playing on

fewer and fewer strings. This was all part of his act, emphasizing his skill and

showmanship.

Paganini represents the epitome of the virtuoso and absolute music, with his

performances being all about himself and his exceptional violin skills. While his

music was groundbreaking, it has now become part of the standard repertoire,

attainable by skilled violinists.

Tchaikovsky: Bridging Program and Absolute Music

Tchaikovsky represents a composer who was adept in both program

music and absolute music.

• The 1812 Overture is a clear example of program music.

• It tells the story of Napoleon's invasion of Russia and his defeat by the Tsar's

forces. It is a work of nationalist propaganda, taking some musical liberties to

enhance the narrative.

Tchaikovsky's Symphonies and Ballets

Tchaikovsky was equally skilled at writing absolute music. His symphonies are

renowned, and his ballets occupy an interesting space between program and absolute

music.

Violin Concerto in D

Tchaikovsky's Violin Concerto exemplifies his ability to write sweeping, beautiful

melodies. It exists purely for its own beauty, without any narrative. Although it

was written for a particular violinist who was never able to play it, it has become

one of the most famous violin concertos in the world.

Ballets: Swan Lake, The Sleeping Beauty, and The Nutcracker

The Nutcracker

The Nutcracker is based on a folk tale about Clara, who receives a magical nutcracker

on Christmas Eve. The nutcracker comes to life and battles the Rat King, eventually

turning into a prince. The second act of The Nutcracker is set in the Land of Sweets and

is essentially a series of beautiful dances.

Act Description

Act One Narrative of Clara, the Nutcracker, and the battle with the Rat King

Act Two Pure fantasy and a series of dances in the Land of Sweets

The second act of The Nutcracker toes the line between program music and absolute

music, serving as an excuse for beauty and spectacle.

“Tchaikovsky's music often blurs the lines between absolute and program music. In

ballets like The Nutcracker, the story is secondary to the beauty of the dance and

music. The celebration of beauty is paramount. Tchaikovsky does not adhere

strictly to the camps of absolute and program music, preferring to find a middle

ground.”

Johann Brahms: Champion of Absolute Music

Johann Brahms was a German composer deeply committed to absolute music during

the 19th-century Romantic period. He focused on the intrinsic musical qualities rather

than narrative or programmatic content.

Organic Unity and Orchestration

Brahms aimed for organic unity in his compositions, ensuring a unifying musical theme

throughout. He also expanded the capabilities of the orchestra through

innovative orchestration.

Orchestration: The art of combining different instruments to create new tone colors

and sounds.

Brahms transformed the orchestra into an "epic music-making machine" by:

• Increasing the size of ensembles

• Combining instruments in novel ways

Manipulating Time and Structure

Brahms also liked to manipulate our sense of time in his compositions. His techniques

include:

• Obscuring the beat: Making it difficult to discern the time signature.

• Using false leads: Throwing in elements that mislead the listener.

• Experimenting with structure and form: Incorporating unexpected elements into

standard forms.

Example: Piano Concerto No. 2

In the third movement of his Second Piano Concerto, Brahms:

• Begins with a cello solo, turning it into a miniature cello concerto.

• Employs a subtle pulse of six-four time, challenging the listener to find the beat.

• Combines instruments in novel ways to create unique tonal colors.

Orchestration Technique

Brahms' orchestration often appears sparse on paper but sounds grand and impactful.

Brahms' orchestration served as a model for future Romantic orchestrators.

PART 2

Romantic Opera in the 19th Century

Classical Period Opera vs. Romantic Era Opera

Classical period opera (e.g., Mozart) had established rules and norms with well-defined

musical structures. In the 19th century, opera evolved into its modern form through

several innovations.

Nationalist Angle

During the Romantic era, opera took on a nationalist angle, with each region developing

its own style.

• Italian Romantic Opera

• German Romantic Opera

The focus shifted from opera buffa (comedy) and opera seria (drama) to operas

reflecting nations and their people.

Excess in Opera

Opera in the 19th century was characterized by excess.

• Lavish stage designs

• Live animals on stage

• Real trees and plants

• Grandiose set design

This lavishness extended to sets, costumes, and orchestras, all in service of cultural

identity.

Characteristics of Italian and German Romantic Opera

Characteristic Italian Romantic Opera German Romantic Opera

Focus

Extremes of human emotion, real-

life situations turned up

Mythology (Germanic and Norse),

fantasy, heroic ideals

Style

Soap opera-like, focusing on real

life

Game of Thrones-like, with

elements of fantasy

Additional

Elements

Lavish sets, special effects, new

opera houses Equally lavish in its own way

Verismo and Exoticism

Opera could also be categorized by verismo and exoticism.

Verismo: Focuses on real-life situations, amplified and exaggerated.

Exoticism: Incorporates elements of fantasy or foreign culture, such as Japan,

India, or the United States (considered exotic by Europeans in the 19th century).

Italian opera tended toward verismo, while German opera leaned towards exoticism.

Expansion of Opera

Opera expanded in several ways.

• Longer stories and runtimes

• Richer detail

• Sumptuous orchestration

• Longer performance runs

Success allowed for hiring more musicians and better set designers, leading to a more

grandiose art form.

Bel Canto Singing

Bel Canto: A style of operatic singing that emphasizes control, phrasing, and expression.

It involves projecting the voice while maintaining tone and clarity, which developed

before electronic amplification. Bel canto gives opera singing its distinct sound.

Giuseppe Verdi (1813-1901)

Verdi was a prolific Italian opera composer known for his focus on Verismo.

• He adapted literary works, including Shakespeare plays like Macbeth, Othello, and

Falstaff

• Wrote 28 major operas

• Designed operas for longer performance runs and for multiple companies to

perform them in different locations

Verdi and Opera as Spectacle

Verdi, seeking financial success, composed operas with long run times to recoup

investments. He aimed for widespread performance, selling his operas to various

companies.

Rigoletto

One of Verdi's notable operas, Rigoletto, is:

• Grounded in human relationships.

• A comedy of errors.

• A love, lust, and betrayal

• An over-the-top yet relatable human story.

Even when the words sung are hard to decipher, the pantomime helps the audience

understand the plot. The opera embodies a soap opera-like quality, filled with familiar

tropes such as:

• A womanizer with multiple partners.

• An innocent whose heart is broken.

• A seductress who is unbothered.

Richard Wagner: The Total Artist

Wagner distinguished himself as a composer by embracing the concept of the total

artist.

Total Artist: The idea that one person should be in charge of the entire creative

process, including writing the story and the libretto, composing the music,

orchestrating, designing the sets and costumes, and even designing the halls in

which the opera would be performed.

Wagner saw his operas as music dramas, aiming for an all-encompassing experience.

Opera Length

Wagner's operas were known for their length. His shortest operas ran for three to four

hours, while his longest, The Ring Cycle, could take 15 hours to perform.

The Ring Cycle

The Ring Cycle is a collection of four operas:

1. Das Rheingold

2. Die Walküre

3. Siegfried

4. Götterdämmerung (Twilight of the Gods)

It is a retelling of ancient German folklore and fantasy, exploring German identity

through myth and escapism.

Leitmotifs

Wagner used leitmotifs to create organic unity in his operas:

Leitmotif: Recurring themes associated with characters, ideas, or locations,

providing continuity throughout the opera.

Leitmotifs help ground the audience in the story's complex web of plot and characters.

Die Walküre

Die Walküre (The Valkyrie) is the second opera in The Ring Cycle. The opening of act

three is full of operatic drama, depicting the Valkyries surveying the battlefield and

deciding the fates of heroes.

Opera Singers as Athletes

Opera singers, like athletes, develop a physique that reflects their rigorous training. Their

core muscles are highly developed to project their voices, resulting in a strong,

grounded physique.

Wagner's Operas

Wagner's operas are rooted in fantasy and lore, differing from the verismo of Italian

opera.

Overwhelming Spectacle

Wagner's operas are characterized by their ponderous pace, which is meant to

overwhelm the audience through spectacle and dramatic staging.

Staging

Wagner called for specific stage directions, including fire. Productions of

Wagner's operas use special lighting and staging effects to capture his vision.

Contributions to Music

Wagner made key contributions to the development of musical instruments and

music theory.

Commissioned Instruments

Wagner commissioned instruments to fulfill his creative vision.

• Wagner tuba: A unique instrument resembling a French horn with a forward-

facing bell, used to reinforce French horns.

Atonality

Wagner pushed the boundaries of music theory by experimenting with harmony and

melody, taking the first steps toward atonality

Atonality: Music without a tonal center, moving beyond major, minor, and dominant keys.

Tristan Chord

Wagner's opera, Tristan und Isolde, is renowned for a particular chord called the Tristan

chord.

• The Tristan chord creates **tension that remains unresolved throughout the

opera**.

• Stephen Fry describes the chord as creating a feeling of longing

Wagner and the Tristan Chord

Tristan Chord Defined

The Tristan chord is a musical figuration by Wagner that creates tension but

withholds resolution until the very end of the opera, Tristan and Isolde.

Significance

• Defies classical expectations.

• Signals a move towards fluid tonality.

• Opened doors for musicians to push beyond tonality.

• Wagner's music remained largely tonal but suggested movement beyond it.

Influence on Later Composers

• Impressionists and Expressionists took cues from Wagner and others pushing

tonality boundaries.

• These movements propelled music into modernism.

Impact on Music History

• Tristan and Isolde is the high watermark of Romantic music.

• It serves as a prelude to modernism and atonality in 20th-century music.

Cultural Shifts in the Late 19th Century

Cultural Elements

• Classical music incorporated diverse cultural elements.

• Influences from folk music and non-European music (exoticism).

• Emphasis on personal expression.

• Cross-pollination of American culture.

Emergence of New Technologies

• Photography

• Sound recording

Impact of Sound Recording

• Allowed artists to mechanically transcribe performances.

• Led to mechanical and electronic sound recording.

• Musicians explored the limits of physical ability.

• New technology allowed for mass distribution of music.

The Rise of the Music Industry

• Cultural fusion, technological revolution, and business innovations converged.

• Music became more reflective of the complexities of the era.

The Emergence of Jazz

Ars Nova Comparison

• A new category of cultivated music would emerge.

Fusion of Elements

• Culture, technology, and industry.

• Ideals of personal expression and creativity.

• Moving beyond tonality.

Jazz as a Co-Equal

• Jazz emerged in the late 19th/early 20th century, particularly in the Southern

United States.

• It became a co-equal with classical music.

Looking Ahead

Expansion of Boundaries

• Exploration of how classical music pushes boundaries.

• Reactions and conditions leading to shifts in music.

Electronic Revolution

• Following jazz, electronics brought another revolution.

• This revolution is still ongoing today.

Shaping Modern Music

• Fusions of culture, expansion of tonality and form, and the emergence of new

musical forms shape today's music.

MUSIC 12 STUDY GUIDE: MARCH 26

PART 1

The Piano in the 19th Century

• The piano became the dominant instrument of 19th-century music due to its

versatility.

• It was the first keyboard instrument capable of producing both soft and strong

tones.

• Piano builders and composers collaborated to advance the instrument's

technology.

• By the late 19th century, the modern piano was established with features such

as:

o An extended range of up to 88 keys.

o Increased volume and improved tone.

o Refined internal mechanisms to handle high-speed playing.

• The piano is essentially a percussion instrument with strings and hammers on

levers.

Franz Liszt: The First Rock Star

• Franz Liszt was a Hungarian pianist, composer, orchestrator, and arguably the

world's first music mega-star.

• He revolutionized the piano and embraced his role as an entertainer.

• Liszt was known for his showmanship and impeccable musicianship.

"Lisztomania": A term coined by Heinrich Heiner to describe the widespread

frenzy and amazement caused by Liszt's performances throughout Europe."

• Liszt pioneered the modern piano recital and was an innovator in both piano

technique and showmanship.

• He was known to destroy pianos during his performances.

• Liszt invented techniques to create the illusion of multiple players or more than

two hands on the piano.

🇭🇺 Nationalism and Hungarian Influence

• Liszt identified closely with his Hungarian heritage.

• This is tied to the concept of nationalism in the 19th century.

La Campanella

• Liszt would write pieces that would sound like three or even four people playing

at once.

🇵🇱 Frédéric Chopin: A Different Kind of Virtuoso

• Frédéric Chopin was a Polish pianist and composer.

• His works are known for their emotive qualities and technical challenges.

• Chopin's virtuosity is different from Liszt's, emphasizing control and emotional

expression.

Chopin's Short Forms

Chopin was known for shorter musical compositions, including:

• Preludes

• Mazurkas

• Etudes

• Impromptus

These are all generally short-form pieces, typically one to three minutes in length.

Chopin aimed to pack as much emotion and technical challenge into these short pieces

as possible.

Rubato: Robbing Time

Chopin encouraged the use of rubato in his music, a technique reminiscent of the

improvisational style of the Baroque period.

“Rubato literally means "robbed" - robbed of time, tempo, and pulse. In practice, it

involves varying the tempo according to the performer's inflection”

Rubato represents a move away from the rigid exactitude of sheet music, allowing for

personal interpretation and inflection.

Musical Subgenres Explained

These musical subgenres originated as practical forms but evolved into distinct styles:

• Preludes: Originally played before a larger piece, Chopin expanded them into

standalone short pieces, often writing collections of preludes that didn't lead into

anything else.

• Mazurkas: Derived from a type of waltz with emphasis on the third beat, creating

a lilting feel. It originates from a dance where the dancer is meant to skip on the

third beat.

• Etudes: Literally meaning "to study," etudes are used by musicians to study

specific techniques or musical features. They can range from simple training

tools to complex compositions.

• Impromptus: Free-form pieces meant to sound like improvisation, offering a

vehicle for virtuosity and free expression.

Analysis of Chopin’s Etude Opus 10, No. 12

This etude is part of a collection (Opus 10) and is the 12th etude in that collection. It is

under three minutes long and contains a clear A section, a main theme, and a coda.

• The piece balances a constant melody with fast, 16th-note runs.

• It poses the challenge of emphasizing either the melody or the technical runs.

• Playing fast and soft, as required in parts of the piece, is particularly difficult.

• Chopin writes rhythms using tuplets- or triplets- momentarily shifting into

compound meter.

• The notation encourages interpretation, inviting the player to "trip over" the

rhythms and add their own inflection.

• Chopin seeks interpretation and contrast, such as sudden shifts between soft

and loud, within a compact timeframe.

Mazurkas: Disrupting the Dance

Chopin's mazurkas, often around one minute long, disrupt the expected dance rhythm.

He subverts the steady pulse through melody and accompaniment, encouraging the use

of rubato. The beat becomes a moving target, demanding careful interpretation to

maintain structure and form.

Prelude in C Minor, No. 20: Emotions in Simplicity

This prelude demonstrates how simplicity can convey complex emotions. Chopin

evokes:

• Anger

• Resolution

• Acceptance

These are achieved through a piece that is essentially played the same way three times,

relying on the performer to imbue the notes with emotion.

Another interpretation of the piece is that it evokes the five stages of grief:

• Denial

• Bargaining

• Anger

• Depression

• Acceptance

Chopin's Emotional Depth

Chopin's music, though short, is deeply emotional and open to interpretation. His pieces

can be seen as musical representations of grief. A performer's emotional input is

essential to bringing his compositions to life. Without emotion, a performance of

Chopin's work falls flat.

Impromptus

An impromptu is a musical piece in the style of improvisation.

Impromptus are meant to have a feeling of being through-composed or free form,

lacking a fixed structure and acting as a stream of consciousness or emotion.

Chopin's impromptus, like his other works, are characterized by the emotional

interpretation brought to them by the performer.

🇺🇸 Louis Moreau Gottschalk: An American Original

Louis Moreau Gottschalk, born in New Orleans, was one of America's first contributions

to the pantheon of classical composers. Despite facing challenges due to his American

origin, racially mixed family, and diverse musical influences, he pioneered a distinct

American way of composing music.

Overcoming Adversity

Gottschalk's unique background and musical style were not always appreciated in

Europe. However, his talent was recognized by figures like Chopin, who admired his

innovative approach.

Blending Influences

Gottschalk's music combined elements from various musical traditions, breaking free

from the constraints of nationalism.

Nationalism in music was the idea that music had to be an ultra-patriotic expression

composed within one's own traditions.

New Orleans' mix of French, Spanish, Caribbean, African, and Native American

influences shaped Gottschalk's unique sound.

Foreshadowing American Music

Gottschalk's compositions foreshadowed what American music would become,

incorporating:

• Polyrhythm: Multiple rhythms playing interdependently.

• Syncopation: Playing against the beat with accents off the beat.

• Elements of Afro-Caribbean, Latin American, and African American music.

His work laid the groundwork for genres like ragtime, blues, and jazz, establishing a

distinctly American sound.

“The Banjo”

One of Gottschalk's famous pieces, "The Banjo," incorporates elements of ragtime

syncopation. He organized monster concerts with as many as 40 pianos on stage with

80 pianists playing his arrangements of this piece.

“Bamboula”

Stephen Foster and Gottschalk took black music and handled it differently. Foster's

music was used for minstrel shows which perpetuated stereotypes. Gottschalk

elevated black music to new heights.

Cosmopolitanism

Gottschalk's music embodies the idea of the melting pot of America,

merging folk tunes and rhythms from various sources with European

classical structures.

Gottschalk's concept of nationalism was more akin to cosmopolitanism.

“La Savane (Ballad créole) ”

• His pieces have French names because everyone in New Orleans spoke a

little French at the time.

Musical Style

• Gottschalk's music blends melodies that sound like folk tunes with Caribbean

dance rhythms.

• South American music greatly influenced Gottschalk.

• His compositions sometimes incorporate a tango feel, reflecting a South

American influence.

Musical Fusion vs. Musical Nationalism

• Gottschalk was a proponent of forward-thinking, broad-minded,

multicultural approaches to composing music.

• He had a mindset of musical fusion, contrasting with the mindset of musical

nationalism.

• Musical nationalism led to distinct national styles, which could be both cool and

problematic.

PART 2

Romantic Period Music

Similarities with the Baroque Period

The Romantic period shared similarities with the Baroque period in its attempt to

convey narrative through music. This is known formally as Program Music. This was a

departure from the Classical period, where Absolute Music was the prominent form.

Nationalism and Music

Nationalism played a significant role in the Romantic period, with composers seeking to

tell the story of their people through music. This was reflected in the use of folk

melodies and themes in their compositions.

Philosophical Influences

The 19th century saw the rise of various philosophical ideals, including:

• Marxism: an economic theory that reacted against capitalism

• Transcendentalism: a philosophy that idealized nature and the natural order

of things

• Eternal Yearning: a concept developed by Schopenhauer, which posits that

humanity is driven by an unfulfillable desire for something it can never fully attain

Philosopher Key Idea

Karl Marx Economic theory that reacts against capitalism

Transcendentalists Idealization of nature and the natural order of things

Schopenhauer

Eternal yearning as a driving force behind human creativity and

expression

Recreational Drugs and Creativity

Recreational drugs– such as heroin, cocaine, and opium– became popular in the 19th

century and were seen as a gateway to creativity. Many composers and artists of the

time used these substances to inspire their work.

Program Music and Nationalism

Program music is a type of music that is meant to evoke a specific image, story, or idea.

It is often used to convey emotions and ideas that are not explicitly stated in the music

itself.

"Program music is music that is meant to be seen as well as heard. It is music that

is meant to evoke a specific image, story, or idea, and to convey emotions and

ideas that are not explicitly stated in the music itself."

🇫🇷 Hector Berlioz and Program Music

Hector Berlioz was a French composer who was known for his innovative use

of orchestration, which is the science of combining different instruments to create a

cohesive sound. He was also a proponent of program music, which is music that tells a

story or depicts a specific scene or image.

Symphonie Fantastique

Berlioz's Symphonie Fantastique is a groundbreaking work that tells the story of a

young artist who becomes obsessed with a woman and eventually descends into

madness. The piece is divided into five movements, each of which depicts a different

scene or image.

Movement Description

1

The artist remembers his beloved and experiences a sense of longing and

yearning

2

The artist attends a ball and sees his beloved again, but is unable to

approach her

3

The artist is in the countryside, where he hears the sound of shepherds

piping and experiences a sense of calm

4

The artist dreams that he has killed his beloved and is being led to the

scaffold

5 The artist sees himself at a witch's sabbath, surrounded by fearsome spirits

The Idée Fixe

The Idée Fixe (or fixed idea) is a musical theme that appears throughout the Symphonie

Fantastique, representing the artist's beloved. The theme is transformed and varied

throughout the piece, reflecting the artist's changing emotions and state of mind.

“The fixed idea is a musical representation of the lost love, and it occurs throughout

the piece in different forms and variations.”

Berlioz and the March to the Scaffold

Berlioz's music is an example of program music. His piece, "March to the Scaffold," is a

musical representation of a protagonist's hallucination that he has killed his beloved

and is being punished.

• The music features a march theme, which represents the protagonist's march to

the scaffold.

• The music also features a minor theme, which represents the protagonist's death

march.

• The theme is repeated throughout the piece, with variations and additions that

represent the protagonist's emotions and thoughts.

Nationalism in Music

Nationalism in music refers to the use of music to express national identity and pride.

Many composers during the Romantic era used nationalism in their music, often

incorporating folk melodies and themes into their compositions.

Composer Nationality Notable Works

Elgar 🇬🇧 English "Pomp and Circumstance"

Grieg 🇳🇴 Norwegian "Peer Gynt Suite"

Sibelius 🇫🇮 Finnish "Finlandia"

Dvorak 🇨🇿 Czech "Symphony No. 9"

Tchaikovsky 🇷🇺 Russian "1812 Overture"

🇳🇴 Edvard Grieg and the Peer Gynt Suite

Edvard Grieg's "Peer Gynt Suite" is a musical representation of a Norwegian folktale.

The suite features four movements, but we will focus on the the 1st and 4th:movements:

"Morning Mood" and "In the Hall of the Mountain King.

• "Morning Mood" is a pastoral piece that represents the beginning of the story.

• "In the Hall of the Mountain King" is a dark and brooding piece that represents

the protagonist's encounter with the trolls.

“Peer Gynt is both a figure of folklore and a symbol of national pride, like

Paul Bunyan in the US folklore. While we can appreciate this music on its

own merits, there is a deeper meaning in the stories the music conveys that

speaks distinctly to the Norwegian mindset.”

Tchaikovsky and the 1812 Overture

Tchaikovsky's "1812 Overture" is a concert overture that celebrates the defeat of

Napoleon by the tsar's forces. The overture features a large ensemble, including a full

orchestra, a carillon (playable bell tower), a military brass band, and live guns or artillery

.

• The overture is a grand and emotive piece that represents the Russian people's

pride and patriotism.

• The use of live guns in the percussion section adds to the dramatic and

celebratory nature of the piece.

• However, the piece takes some liberties with historical accuracy.

Musical Elements

• The French national anthem, La Marseillaise, is featured in the overture, despite

being banned by Napoleon during his reign.

• Tchaikovsky incorporates Russian tunes that were not written until well after

1812, further deviating from historical accuracy.

• The overture is meant to evoke the sound of a gathering battle, a clash of armies,

and the triumphant return of the Russian forces.

Historical Inaccuracies

"Musical historical accuracy is not his intent. His intent is to create the sound of a

gathering battle, a clash of armies, the Russian victory, and the return home in triumph."

Historical Inaccuracy Explanation

Use of La Marseillaise

Napoleon banned the anthem during his reign, but it was later

associated with France and used by Tchaikovsky.

Incorporation of

Russian tunes

Tchaikovsky used Russian tunes that were not written until after

1812, taking liberties with historical accuracy.

Evolution of the 1812 Overture

• Originally intended as a piece of Russian propaganda, the 1812 Overture has

been co-opted by various groups to celebrate their own victories.

• For example, it has been reworked with choirs and used to symbolize the

perseverance of Ukraine over Russia in the current conflict.

• The overture has become a symbol of overcoming invaders and is often used to

celebrate victories over overwhelming odds.

Performance and Interpretation

• The 1812 Overture is often performed with grand and dramatic flair, reflecting

Tchaikovsky's original intent.

• The piece is meant to evoke the emotions of a gathering battle, a clash of

armies, and the triumphant return of the Russian forces.

• The overture's finale is particularly notable, ending with a dramatic and explosive

conclusion.

Music 12 STUDY GUIDE” March 19

PART 1:

Test-Taking Strategies

Clues and Comparisons

• Look for clues within the test itself.

o Clues can be found in other answers. An answer to one question can

answer another later on.

o Verbiage or wording in the question may contain the answer.

• Compare questions and answers.

o Look for patterns and shared concepts between questions.

o Compare something you're uncertain about to something you're certain

about.

Logical Deduction

• Use logical deduction to eliminate wrong answers.

o In a multiple-choice question with four choices, one is usually absolutely

wrong.

o Look for answers that seem out of place or haven't been discussed in

class.

Example: Question 51 Analysis

1. The question asks about the composer of a piece of music and their association

with a historical movement. The choices are:

o Battle of Yavin (from Star Wars)

o Siege of Vienna

o The Enlightenment

o The Protestant Reformation

2. Eliminate the obviously wrong answer: Battle of Yavin (a joke answer).

3. Eliminate answers not covered in class: Siege of Vienna (mentioned briefly, if at

all).

4. Evaluate the remaining choices: The Enlightenment and the Protestant

Reformation.

5. Make an educated guess: If the music sounds like a church hymn (composer

was Martin Luther), the answer is likely the Protestant Reformation, as Martin

Luther was a key figure in that movement.

Exam Material Sources

Exam material is drawn from:

• Lectures

• Textbook

• Resources posted on Canvas

Note-Taking Tools

Transparent Post-it Notes

Transparent Post-it notes are a helpful resource.

Note-Taking Tips

• Transparent Post-it Notes: Use these in textbooks if you want to resell them

later.

• Note-Taking Apps: Use note-taking apps to record lectures and generate

outlines.

o TurboLearn: This AI program turns recordings into outlines that you can

use to generate study guides. It is about 90-95% accurate, so students

must edit its mistakes, reinforcing information.

Upcoming Quizzes and Concert Report

Item Due Date

Quiz 3 April 2

Quiz 4 April 30

Concert Report Two April 9

The quizzes are previews of the final exam and are open note, open book, open internet,

and open call a friend.

HONORS: Final Project Information

• The final project is a significant portion of your grade.

• Concert evaluations were graded with detailed notes in highlighted sections.

• Final projects will require:

o Research

o Quality bibliography

o Quotations and citations

o Footnotes

• The concert analysis served as a warm-up for the final project.

Office Hours (or Hangout Hours)

• Office hours are available, referred to as “drop hours” or “hangout hours.”

• Office hours are for all professors.

• Students can discuss any topic during office hours, not just course-related

content.

Midterm Performance and Improvement

• It's common for students to improve after the midterm, so don't be discouraged if

you didn't perform as well as expected.

• If you performed well on the midterm, maintain your efforts.

PART 2:

The Importance of Song and Social Singing

Definition and Differentiation:

• A “song” is not just any piece of music but is specifically defined by certain

characteristics:

o Has lyrics.

o Is generally short form.

o Can often be performed without specialized technique.

o Is intended to spread casually throughout society and is not tied to a larger

performance work.

• Contrast songs with longer, more complex musical forms (symphonies, concertos).

Social Bonding Through Song:

• Songs have historically been used to bond communities together. Sadly, the tradition

of communal singing is fading in modern times, particularly in the U.S.

• Examples of Social Singing:

o Worship and Sacred Music: Often sung communally to foster a sense of

spiritual connection.

o Casual Singing for Joy:

▪ Example: Stan Rogers: Barrett’s Privateers: A sea shanty meant to be

sung with friends.

o Work Songs:

▪ Example: Wool Waulking– Historically, work songs helped workers

synchronize tasks and stay motivated.

o Camaraderie Songs:

▪ Example: Māori Haka

o Drinking Songs:

o Social Cohesion and Ritual:

Personal Reflection: Decline in Communal Singing:

• Professor reflected on how singing together has historically been a primary social

activity, and lament how it has become less common today.

o Ssinging has been made ‘embarrassing’ in some societies as a means to

discourage people from forming cohesive groups... Songs have always been

used in trade unions, student uprisings, and social change movements, often

seen as threats to the status quo.”

Romantic Art Song

Art song is a genre of music that emerged in the 19th century, characterized by its

intimate and expressive nature. It was meant to be performed in the home or in small

gatherings, and was a sign of nobility and good manners.

Definition of Art Song

Art song is a genre of music that combines poetry and music to create a unique and

expressive form of art. It is characterized by its use of cultivated music and its focus on

personal expression.

Characteristics of Art Song

• Through-composed: Art songs do not follow a strict form, but instead create

their own form as they go.

• Short: Art songs are typically short, lasting between 1-4 minutes.

• Expressive: Art songs are meant to be expressive and personal, often using word

painting to emphasize the lyrics.

• Intimate: Art songs were meant to be performed in the home or in small

gatherings, creating a sense of intimacy and closeness.

Forms of Art Song

Form Description

Strophic A verse and a repeating refrain or chorus.

Through-

composed

A form that creates its own form as it goes, without a strict

structure.

Famous Composers of Art Song

• Franz Schubert: A German composer who wrote many famous art songs,

including "Erlkönig" (The Elf King).

• Robert Schumann: A German composer who wrote many art songs, including "In

the Lovely Month of May".

• Stephen Foster: An American composer who wrote many famous art songs,

including "Oh! Susanna" and "My Old Kentucky Home".

Examples of Art Song

Erlkönig (The Elf King) by Franz Schubert

• A through-composed art song that tells the story of a father and son's encounter

with the Elf King.

• Features word painting, with the music matching the literal meaning of the lyrics.

• A classic example of a romantic art song, with its dark and supernatural themes.

In the Lovely Month of May by Robert Schumann

• A strophic art song that features a tragic love theme.

• The music is melancholic and longing, with a sense of heartbreak and unrequited

love.

• A beautiful example of a romantic art song, with its focus on personal expression

and emotion.

Oh! Susanna by Stephen Foster

• A classic American art song that features a catchy melody and lyrics.

• A great example of how art song can be used to tell a story and evoke emotions.

• A famous example of an American art song, with its use of cultivated music and

folk influences.##

American Folk Songs and Stephen Foster

American folk songs are known for their lively and upbeat melodies, but they also have

a complex side. One of the most influential American composers, Stephen Foster,

bridged the gap between folk and cultivated music, making his songs accessible to the

masses.

Stephen Foster's Legacy

Stephen Foster's music is a mix of beautiful melodies and problematic content. He drew

inspiration from folk songs, but also wrote music for minstrel shows, which were a

popular form of entertainment in the 19th century.

"Minstrel shows were a type of entertainment that featured white performers in

blackface, performing music and comedy that was often derogatory and racist."

Despite being an abolitionist, Foster made a significant amount of money from his

minstrel show songs, which has led to a complicated legacy.

Minstrel Shows and Their Impact

Minstrel shows were a major part of American entertainment in the 19th century, but

they also perpetuated racist stereotypes and tropes. Many of these tropes are still

present in modern media, often in subtle ways.

Tropes Examples

Racial stereotypes

Cartoon characters wearing gloves, which originated from

minstrel shows

Derogatory

language

Use of African American Vernacular English (AAVE) in a

derogatory manner

Damaging tropes Perpetuation of negative stereotypes about African Americans

Stephen Foster's Music

Foster's music is a mix of beautiful melodies and problematic content. Some of his

most popular songs include:

• "Beautiful Dreamer"

• "Gentle Annie"

• "Camptown Races"

• "Oh Susanna"

• "Old Folks at Home" (also known as "Swanee River")

These songs were often performed in minstrel shows, and their lyrics and melodies

have been modified over time to remove racist content.

The Evolution of Foster's Music

Foster's songs have undergone significant changes over time. Many of his songs were

revised and edited to remove racist language and content, making them more suitable

for modern audiences.

Song Original Version Revised Version

"Old Folks at Home"

Featured lyrics about an

enslaved man longing to be

back on the plantation

Revised to remove racist

language and content

"Camptown Races"

Featured derogatory language

and stereotypes

Modern version omit

problematic passages/lyrics

The Legacy of Stephen Foster

Despite his complicated legacy, Foster's music continues to be popular today. His

songs have been modified to remove racist content, making them more suitable for

modern audiences.

"Foster's music is a reminder that history is complex, and that even the most

beautiful melodies can have a problematic past."

PART 3:

The Romantic Period: An Overview

The Romantic period, following the Classical period, marks a significant era in Western

classical music history, spanning roughly from the early 19th century to the dawn of the

20th century (approximately from Beethoven's time to 1914). It is characterized by:

• Emphasis on emotionalism

• Personal expression in reaction to the Enlightenment's focus on reason and

progress.

Beethoven's Influence

Beethoven played a crucial role in transitioning from the Classical to the Romantic era.

He:

• Elevated the symphony to showcase his compositional and orchestration skills.

• Pioneered emotional expression in music.

Reaction to Classical Ideals

The Romantic period can be seen as:

• A reaction against the Classical period's strict hierarchy, order, form, and

harmony.

• A democratization of Classical ideals, emphasizing the value of the individual.

Personal and Emotional Expression

The Romantic era valued:

• Ideals that were unattainable.

• Goals that were unachievable.

• Worship of the past.

• Striving towards an idealized future.

• Experiencing intense emotions and suffering.

Historical Context of the 19th Century

The 19th century, under the Romantic umbrella, was marked by:

• Revolutions: The French Revolution, Napoleonic Wars, and other uprisings.

• Colonization: The expansion of empires such as the British, Dutch, and French

Empires.

• Industrial Revolution: Rapid changes in industry, commerce, and manufacturing.

• Victorian Era: Codification of social rules and customs.

• Technological Advancements: Photography, recording, motion pictures, steam

engines, gasoline engines, trains, and ocean liners.

End of the Romantic Era

The First World War is considered the event that brought the Romantic period to an end

by ending the age of empires.

Cultural Movements and Contradictory Ideas

The Romantic era involved contradictory ideas, creating tension and complexity.

Nationalism vs. Individualism

• Nationalism:

An toxic belief that one's country is the absolute best and others are inferior;

a perversion of patriotism.

• Individualism: Emphasis on personal expression and the concept of the "total

artist" or singular genius.

Industrialization vs. Pastoral Life

• Industrialization: The rise of machines and factories.

• Pastoral Life: A longing and romanticization of simple country living.

Capitalism vs. Marxism

• Capitalism: The growth of wealth and industry through private transactions.

• Marxism: A reaction against capitalism, ostensibly focused on the worker.

🇺🇸 The Rise of the United States

• Emergence of the United States: The U.S. began a campaign of territorial

expansion.

• The Civil War: The most significant event in America during the 19th century.

The 19th Century: A Foundation for Romantic Music

The 19th century was a time of significant tension and contradiction, marked by:

• Territorial expansion

• Conflicts between personal freedom and slavery

• Native-born populations versus immigration

This era laid the groundwork for Romantic music, which mirrored the complexities of

the time.

Characteristics of Romantic Music

Romantic music is defined by:

• Complexity: Rich in detail

• Reintroduction of contrapuntal and polyphonic writing and ornamentation

• Emotional Depth and Personal Expression: The most defining characteristic

“The consumption and experience of music evolved, establishing the

modern tradition of concert etiquette.”

Video Commentary: The Romantic Period in Western Music

Time Span

Approximately 1820 to 1910

Lasting Appeal

The highly expressive nature resonates with modern emotional sensibilities.

Influence

The Romantic movement in art and literature. The Romantics reacted to the growing

rationalism of the 18th century, emphasizing the importance of:

• The individual

• Emotional experience

Common Emotional Experiences Highlighted

• Longing for unattainable love

• Longing for an unreturnable homeland

• Longing for a simpler past

• Longing for a better life in general

• Longing for God and salvation

Political and Economic Changes

• Political revolutions of the late 1700s and early 1800s sought to give more rights

to individuals, including:

o The American Revolution

o The French Revolution

o The revolutions of 1848

o The publishing of the Communist Manifesto

o The abolition of slavery and serfdom in Europe and the Americas

The Industrial Revolution

The Industrial Revolution had a tremendous impact on:

• World economies

• People's daily lives

Rise of the Middle Class

More people were making more money, which created a new middle class in society.

Impact on the Arts

Art, literature, poetry, and music were created in greater quantities for people to enjoy in

their homes.

Themes in Romantic Stories

• Stories tied closely to the individual and to emotional expression

• Plots tended to end tragically, with elements of unfulfilled longing

• Popularity of love stories, often unrequited, unreturned, or ending in tragedy

• Ruminations on death, religion, and the supernatural

Examples of Romantic Themes in Music

Composer Work Story Elements

Richard

Wagner Tristan and Isolde A tragic love story

Hector Berlioz

Symphony

Fantastique

Hero falls in love, murders the object of his

affection, is executed, and witnesses a witch's

dance in the afterlife

Various

Composers

Requiem Mass

(Mass for the Dead)

A common type of mass written during the

Romantic period

Nationalism

Many composers took part in political movements and wrote pieces to celebrate their

country or national identity.

• Nationalism: A movement where musical pieces celebrate a country or national

identity.

Example:

Bedřich Smetana's cycle of six symphonic poems entitled "Má Vlast" (My Homeland)

• Depicts aspects of Czech landscape, history, or legends

Depiction of Natural Landscapes

Composers focused on composing music to depict natural landscapes, both from their

current time and from an idealized past.

Example:

Ludwig van Beethoven's Symphony No. 6, also known as the Pastoral Symphony

• Depicts the German countryside

• Movement titles include:

o Awakening of Cheerful Feelings on Arrival in the Countryside

o Scene by the Brook

o A Merry Gathering of Country Folk

o Thunderstorm

o Shepherd Song

Musical Characteristics

• Unique expression of emotions

• Organic unity for each piece

• Breaking the rules of form established in the Classical period

• Using more dissonance

• Expanding instrumentation

Taboo of Recycling Musical Material

• It became taboo for composers to recycle their own musical material in new

works.

• Emphasis on individualism and the individual's emotions

Rise of the Genius Composer

• Framing of a composer as misunderstood and struggling against the world

Organic Unity

“Works with multiple movements (symphonies, operas, sonatas) were tied

together with a recurring melody or theme.”

Example

The four-note fate motif in Beethoven's Fifth Symphony.

• Idée fixe: Term used by Berlioz for unifying themes.

• Leitmotif: Term used by Wagner for unifying themes; still in use today.

Romantic Period Innovations and Characteristics

The Romantic period witnessed significant shifts in musical forms, harmonic language,

instrumentation, and concert life. Composers pushed boundaries and explored new

ways to express emotion and individuality.

Expanding Musical Forms

• Romantic composers expanded upon Classical forms to accommodate their

expressive musical interests.

• Forms became longer, with extended introductions, developments, and dramatic

codas.

• The Classical sonata form evolved into a three-part structure, emphasizing

emotional intensity and length in the development section.

• Composers modulated to a wider variety of key areas than in the Classical

period, increasing dramatic tension.

Dissonance and Harmony

• Dissonance and unconventional harmonic relationships were used to enhance

the dramatic tension of compositions.

• The Tristan chord from Wagner's opera Tristan und Isolde exemplifies this.

o This chord features a tritone, an augmented sixth, and a raised ninth

above the bass.

o Unlike Classical music, where dissonant chords typically resolve quickly,

the Tristan chord resolves to a less stable dominant chord.

Instrumentation

• Orchestras expanded in size with larger string sections and winds in groups of

three.

• Higher and lower instruments were added to increase the orchestra's pitch

range.

• Common additions included piccolo, English horn, bass clarinet, contrabassoon,

trumpets, trombones, and tubas.

• Some works incorporated full choruses, such as Berlioz's Dramatic

Symphony in Romeo and Juliet.

• The piano's range expanded from four to five octaves to the modern seven-

octave range.

• Pianos were constructed with stronger materials like steel and cast iron, allowing

for greater dynamic extremes.

Concert Life

• Public concerts grew in popularity, leading to scheduled concert series in various

venues.

• Large concert halls were built to accommodate orchestras and audiences.

• Composers earned money from performances and publications, reducing

reliance on noble patrons or churches.

• Public concerts often took the form of variety shows featuring diverse

performances.

• The rise of the virtuosic performer led to the solo recital format.

• Performers wrote works to showcase their technique.

Virtuosic Performer: A musician with exceptional technical skill and artistry,

capable of dazzling audiences with their performances.

• Niccolò Paganini was one of the first virtuosic soloists.

The Cult of the Artist

• Audience fandom led to the romantic cult of the artist, elevating composers and

performers to the level of genius.

• This phenomenon is comparable to modern celebrity culture.

• Audiences flocked to concerts and bought merchandise.

• Franz Liszt and Jenny Lind were major stars, generating fan devotion.

Romantic Cult of the Artist: The elevation of particular composers and

performers to the level of vaunted genius, leading to intense audience

fandom and adoration.

• Products were sold with Jenny Lind's name on them, including cribs, chairs,

perfumes, and sheet music.

Audience Behavior

• Audience behavior shifted during concerts.

• Early Romantic audiences conversed, danced, and ate during performances.

• New restrictions were added to concert halls, requiring audiences to sit quietly.

Domestic Music Making

• The rise of the middle class with leisure time and disposable income fueled

domestic music making.

• Families hired music teachers for their children.

• Daughters were expected to play the piano.

• Composers wrote intimate genres like German Lieder, character pieces for piano,

and piano trios for private performances.

• Composers like Franz Schubert hosted "Schubertiads."

• Fanny Mendelssohn Hensel hosted musical performances every Sunday.

SCHUBERTIADE: Informal gatherings organized by Franz Schubert, where he

and his friends performed music, read poetry, and discussed political issues

in a relaxed and intimate setting.

Technological Changes

• New technologies like recorded sound and images emerged at the end of the

19th century.

• Composers of the early modern period grappled with these changes.

Key Concepts of the Romantic Period

Concept Description

Organic Unity A singular musical idea that weaves its way through an entire piece.

Expansion The stretching of musical pieces in terms of length, form, and range.

Dissonance

The use of unstable and clashing harmonies to express intense

emotions.

All New

Music Composers sought originality and avoided recycling their music.

MUSIC 12 STUDY GUIDE: MAY 14

PART 1

� The New American Sound

This new American sound in classical music emerged in the mid to late 20th century,

characterized by a distinct tone color, orchestration style, and Americana-esque sound.

It represents a departure from 19th-century nationalist sentiments, emphasizing

individualism and unique composer voices.

� Charles Ives: The Insurance Salesman Composer

Charles Ives was a composer who gained recognition later in life.

• By day, he worked as an insurance executive.

• He composed individualistic and unconventional music, partly because he

believed it wouldn't be performed.

• One formative experience from his youth involved his father having him sing a

song while playing an accompaniment in a different key, which led Ives to

develop an ear for polytonality.

Polytonality: The simultaneous use of two or more different keys in a

musical composition.

Ives was also a proponent of polytempo.

Polytempo: The simultaneous use of two or more different tempos in a

musical composition.

He questioned the necessity of a single pulse or time signature in music, experimenting

with different sections of an orchestra playing at varying speeds or even incorporating

chance music alongside sustained, slow passages.

� Country Band March: A Pastiche of Sound

Ives' approach, which can be described as pastiche, involves piecing together a "quilt of

ideas."

Pastiche: A musical composition that incorporates fragments or elements

of other works or styles.

His compositions may initially sound random or incoherent, but they ultimately convey a

larger meta-story by blending different genres, melodies, keys, and tempos.

Key Aspects of Country Band March:

• Combines elements from different genres.

• Features multiple keys and melodies.

• Lacks a clear and consistent pulse, subverting listener expectations.

• Incorporates recognizable tunes, prompting listeners to actively engage and

choose what to focus on.

• Sets these elements against the backdrop of a march, creating a pastiche of

sound.

� The Unanswered Question: A Philosophical Inquiry

In contrast to Country Band March, The Unanswered Question explores contrasting

layers of sound to pose a philosophical question.

The Compositional Structure:

Element Description

Bed of StringsPlays very slowly and simply, creating a foundation.

Trumpet Asks "the question".

Woodwinds Offer unsatisfactory or nonsensical answers.

The piece sets up a philosophical dilemma, inviting listeners to contemplate the

meaning of the "unanswered question," which could be interpreted as the meaning of

life or any other profound inquiry.

Philosophical Music with Charles Ives �

Charles Ives used music to express philosophy, ideas, and worldviews. He aimed to

create abstract music that is still relatable, providing listeners with enough context to

appreciate it. This approach made Ives an influential composer in the second half of the

20th century.

Aaron Copland and the American Sound �

• A legendary American composer, studied with Nadia Boulanger.

• He developed a distinct American orchestral sound, writing more conventional

music about unconventional, particularly American, themes.

Rodeo: Capturing the American West �

Copland wrote a ballet called "Rodeo" about a rodeo. The conclusion features the

famous piece "Hoedown," capturing the American sound and the spirit of American

individualism.

Elements of the Cowboy Sound �

Copland incorporates elements of:

• Folk, fiddle playing style

• Open strings and tunings

• Repeated ostinatos

• Percussion to mimic spurs, boots, and hoofbeats

Fanfare for the Common Man �

Copland's "Fanfare for the Common Man" celebrates ordinary people.

A fanfare is a brass and trumpet flourish meant to evoke emotion and

grandeur for someone or something very important.

Copland uses the fanfare to celebrate the common person, making it a universal

humanist anthem and a statement against elitism.

Avant-Garde and Absurdist Music �

After World War II, avant-garde artists, including composers, sought to redefine music

and art, challenging elitist notions and traditional structures.

György Ligeti and Micro-polyphony �

György Ligeti's "Lux Eterna" is an example of micro polyphony.

Micro polyphony is a technique that creates dense, overlapping textures to

form a wall of sound, blending individual voices into a unified, almost

inhuman effect.

This piece focuses on the experience of sound and how vowels interact, aiming to

induce an altered state of consciousness.

John Cage and Prepared Piano �

John Cage, a performance artist, created "music for prepared piano."

Prepared piano involves inserting objects into the piano to alter its sound.

Cage's work challenged conventional music, incorporating non-Western styles and

absurd elements to challenge perceptions.

� John Cage and the Redefinition of Music

� Incorporating Non-Western Music

John Cage incorporated non-Western musical elements, specifically

from Balinese Gamelan music, into his compositions. This challenges the

conventional perceptions of Western music.

� Prepared Piano

• Cage transformed the familiar grand piano into an exotic instrument by

inserting objects inside it. This made the piano sound like drums, gongs,

and bells.

• The prepared piano subverts the audience's expectations by redefining the

instrument's sound.

� 4'33"

Cage's most famous composition, 4'33", consists of three movements of silence.

4'33" is a piece of music with no sound, challenging the definition of music itself.

This piece has been performed by various ensembles, including:

• Piano

• Jazz ensemble

• Orchestra

• Death metal band

• Each performance is unique, with the death metal version adding an intro and

clear distinctions between the movements.

• Cage aimed to demonstrate that there is no such thing as silence, as ambient

sounds like cell phones, coughing, and traffic all contribute to the musical

experience.

� The Audience as Part of the Music

Cage redefined music as being about ritual and agreed-upon rules, arguing that sound

produced by musicians isn't necessary. The audience's reaction and how they respond

to performance elements become integral to the music.

• Andy Kaufman later adopted this concept, manipulating and subverting audience

expectations in his comedy-based performance art. Cage's work sought to

redefine norms and challenge conventional expectations.

�La Monte Young: Pushing Boundaries to the Extreme

� Absurdist and Experimental Approaches

La Monte Young is known for his absurdist and experimental musical compositions.

� The Well-Tuned Piano

One of Young's pieces, "The Well-Tuned Piano," can take hours or even days to perform

and is an extended improvisation.

� Text-Based Performance Art

• Young's compositions for David Tudor are text-based and challenge the definition

of music, bordering on performance art.

• These pieces are actually performed, challenging the audience's expectations

and the definition of music.

� From Anti-Establishment to Elitist

Young's music became so extreme that it became a parody of itself. This led to his work

becoming popular among elitists, and eventually becoming the very thing it initially

sought to overthrow.

• The avant-garde and absurdist movements eventually became the darlings of the

establishment they tried to topple.

PART 2

Opening piece: � “Electric Counterpoint”

Steve Reich’s "Elective Counterpoint" is an example of minimalism. The piece demands

intense concentration, as there's no recovery from mistakes.

� Rise of Electronic Music

Electronics are exclusive to the 20th century and are crucial for modern music.

Electronic music involves using electronics to amplify, alter, or create

sound.

Early Amplification

Early electronic music focused on amplifying instruments like guitars and basses.

Electric Organ

The Hammond organ was a game-changer, offering a more manageable alternative to

colossal pipe organs. It became popular in churches and various music styles.

The Hammond organ creates sound by:

• Spinning analog “tone wheels”

• Reading electronic oscillations

• Piping sound through a spinning speaker for a 3D effect

Theremin

The theremin is a purely electronic instrument played without physical contact. It uses

an electromagnetic field to control pitch and volume, creating an eerie sound.

Tape Recording �

Post-World War II, analog recording tape revolutionized sound recording.

Advantages of tape:

• Correcting mistakes through erasure and rerecording

• Recording multiple instruments simultaneously

• Physically cutting and editing tape

Composers like Ligeti used tape to graft together different recordings and

explored graphical scores to notate this new music.

Access to Electronic Music Tech

Early access to high-quality electronic equipment was limited to:

• Universities

• Broadcast companies

• Government organizations

Electronic music began as an elite pursuit due to the cost and exclusivity of the

technology.

� Early Pioneers of Electronic Music

� Graphical Scores and Tape Manipulation

Early electronic music was characterized by experimental approaches,

including graphical scores and tape manipulation. Composers edited together recorded

and imaginative sounds using tape machines that were run backward or at varying

speeds.

� Women in Electronic Music

Electronic music in its early days was notable for its inclusivity of women. Many women

found opportunities in electronic music that were otherwise unavailable in traditional

composition. Two prominent figures are:

• Delia Derbyshire: Worked at the BBC and created the theme for the TV

show Doctor Who, introducing experimental electronic music to a wide audience.

• Wendy Carlos: Brought electronic music to popular prominence with her

album Switched-On Bach.

� Delia Derbyshire and the BBC Radiophonic Workshop

The BBC Radiophonic Workshop was established in 1958 to produce special sounds for

radio and television, ranging from science fiction to fantasy.

“Electronic music is the shaping and organizing of electronic sounds into

musical patterns using tape machines and electronic apparatus.”

Derbyshire's process involved constructing individual sounds using electronic

generators and manipulating recorded sounds.

⚙ Basic Electronic Sounds

• Sine wave: A simple sound with a short sound.

• Square wave: A harsher sound with high harmonics.

• White noise: A more complex sound.

These basic sounds were shaped and molded to create musical pieces. Composers

often sought to invent new sounds that couldn't be produced by traditional musical

instruments.

✂ Tape Manipulation Techniques

1. Recording sounds from real life.

2. Altering the sounds by slowing down or speeding up the tape.

3. Cutting the tape to the right length.

4. Creating loops of sounds.

5. Synchronizing tapes of electronic sounds.

6. Combining tapes of electronic sounds with live musicians.

� Wendy Carlos and the Moog Synthesizer

Wendy Carlos popularized electronic music using the Moog synthesizer.

A synthesizer is an electronic device that generates a multitude of sounds

using pure electronic circuitry.

• Early synthesizers were analog, requiring physical manipulation of cables and

adjustments.

• Carlos's work involved recreating sounds from their component tones, using 8-

track machines for mixing.

• She used filters to remove or loosen portions of the sound.

• Later, computer-controlled synthesizers allowed for additive synthesis, building

sounds by adding individual overtones.

•

Term Description

Synthesizer

An electronic device that generates a multitude of sounds using pure

electronic circuitry.

Analog

Synthesizer

Early synthesizers that required physical manipulation of cables,

oscillators, filters, and adjustments.

Additive

Synthesis

A method of creating sounds by adding individual overtones, used in

computer-controlled synthesizers.

� The Rise of Electronic Music

� Wendy Carlos and the Synthesized Xylophone

In a video demonstration, Wendy Carlos meticulously crafted electronic music by hand.

She began by creating a synthesized xylophone sound.

1. Carlos selected a pleasing tone.

2. She added three more pure tones in proportions that mimicked a real xylophone.

3. Carlos included the harmonic noise that occurs when a mallet strikes wood by

adding an electronic shape to each sound component.

Despite being created with rapidly evolving technology, her album of Bach's music

became a best-seller because it adapted established Baroque music.

� The Who and the Integration of Synthesizers into Rock

Electronic music's accessibility grew, leading to its adoption by popular music

performers. The Who was among the first to use purely electronic music in the context

of Rock music.

• Their guitarist, Pete Townshend, created an entire electronic synthesized

sequence.

• The band played rock music over this pre-recorded piece.

• This established the practice of playing along with a track.

• A prime example is their song, Baba O'Reilly, which started as a synthesizer

composition before being built into a piece for the whole band

This marked a foundational shift, using the synthesizer to build a rock song.

� Kraftwerk: Pioneers of Pure Electronic Pop

Kraftwerk, a band from West Germany, revolutionized electronic music.

• They built their own instruments due to limited access to advanced technology.

• Electronic music became accessible to anyone willing to experiment.

• Kraftwerk was the first purely electronic band, using homemade instruments and

sequencers.

Sequencer: A way to playback synthesizers without using tape.

Their robotic, mechanical aesthetic was unique.

“Kraftwerk's influence is immense, as they proved the potential of electronic

music as pop music. Their early work paved the way for the electronic

music that dominates today's pop scene.”

� The Evolution and Vernacularization of Electronic Music

Electronic music exploded in popularity through the 80s, 90s, and 2000s, eventually

dominating the pop music scene. Electronic music shifted from cultivated music to the

vernacular, associating with punk, clubs, and hip hop.

� AI's Role in Modern Music

AI now plays a significant role in music, with AI programs used to play back scores with

frightening accuracy. AI orchestras are even used in film scores. �

� Minimalism: Electronic Influence in Cultivated Music

Minimalism, influenced by electronics, emerged as a style in cultivated classical music.

• It emphasizes simple, repetitive musical cells layered to create complex textures.

• This creates a hypnotic quality.

• The process of creation is central, focusing on emergent melodies, pulses, and

beats.

Emergent: Melodies, pulses, and beats.

� Terry Riley and "In C"

Terry Riley is among the earliest minimalist composers.

His piece "In C" is a prime example.

• It can be played by any ensemble for any length of time.

• The music evolves through the process of playing rather than relying on a set

melody.

In "In C", rhythm and emergent musical properties take precedence over

melody.

� Emergent Musical Phrases

An emergent musical phrase is a musical pattern that arises from the combination of

simpler elements. Our brains can stitch these together into a musical subject.

• Different layers of different cells come to the forefront as the music evolves.

• The journey you take while you listen (individual experience) is more important

than anything else.

⏱ Minimalism and the Journey

Minimalism emphasizes the listening journey above all else. It's a hypnotic experience

where the process of getting from the beginning to the end of a composition is key to

the piece's meaning.

� Steve Reich and Phasing

Steve Reich explored the concept of phasing in his music.

Phasing: A compositional technique where two or more instruments play

the same musical pattern at slightly different speeds, causing them to

gradually drift out of sync and create new, complex patterns.

Reich got the idea for phasing while playing around with tape recorders. He noticed that

when two tape recorders played the same sound at slightly different speeds, they

created new musical patterns as they drifted apart. This fascinated him, and he

wondered if he could recreate this effect live with musicians.

Piano Phase

One of Reich's earliest experiments in live phasing is a piece called Piano Phase. It's for

two people playing two pianos.

• The musicians start off playing very simple melodies and rhythms, which never

change.

• One of the pianos gradually moves slightly slower, creating a drift between the

two parts.

• As the pianos drift further apart, they create new musical patterns and textures.

The only difference between the two parts is the tempo. One piano is slightly slower

than the other, which causes them to drift apart and create a phasing effect.

• This process creates new melodic figures that emerge over time.

• The piece begins with the two pianos in unison and ends with them in unison as

well.

• The process of unfolding over the course of 20 minutes creates a "trippy

experience" for the listener.

Music for 18 Musicians

Another piece that uses this kind of process is "Music for 18 Musicians". While not

played in class, it's recommended as a listening experience that takes about an hour.

PART 3

� Cosmopolitanism in Music

Cross-Cultural Collaboration

The current trend in music can be labeled cosmopolitanism, where composers from

different national backgrounds collaborate, breaking down nationalistic boundaries.

This cross-pollination of cultures results in unique musical pieces that blend various

themes and styles.

• Example: Ascending Bird by an Iranian and British composer

• Los Angeles composing community: Acts as a "United Nations" by incorporating

elements from every corner of the world

� Postmodernism: Deconstructing Musical Norms

Emphasis on Individuality

Postmodernism deconstructs strict rules and categorizations, emphasizing individuality

and creativity over adherence to a genre or school.

Postmodernism emphasizes individuality and creativity over adherence to a

genre or a school

Relative Progress

The concept of progress is considered relative, and music doesn't need to align with a

specific "-ism" to be meaningful. Creating meaningful music is the defining aspect of

progress.

Frank Zappa: The Nonconformist

Frank Zappa was a nonconformist composer and guitarist who blended rock, pop, jazz,

and classical elements.

• Challenged industry norms

• Experimented with genre-defying music

Approximate: A Meta-Performance

The performance of Approximate by Frank Zappa and The Mothers of Invention is

considered a meta performance.

• The piece is meant to be experienced in multiple ways.

• The performance itself, even if it looks like a demonstration, is the piece.

• The performance does not adhere to any specific genre.

George Crumb: Visual Music

George Crumb sought to create music that was both interesting to listen to and visually

appealing.

• Macrocosmos: Crumb's work where the music is determined by the shape of the

score.

• Notes are used in a pointillistic manner to create art.

Even the notation itself is invented

Twin Suns

Twin suns is a section of Macrocosmos.

• The notation and piece resembles twin starbursts, effectively making the music a

pointillistic artwork.

• It takes elements of extreme experimentalism but puts boundaries on it.

Graphical Score

A graphical score is when the visual arrangement of the music is just as important, if

not more important, than the sonic arrangement.

Example of graphical score

• In 2004, the professor created a graphical score for electric guitar using

quadrants and the double golden spiral to dictate the form of the music

❤ Neo-Romanticism: A Return to Emotion

Emotional Accessibility

Neo-romanticism is a return to emotional accessibility, drawing from romantic ideals

while incorporating modern aesthetics.

• Music is crafted to be emotionally resonant.

• Neo-romantic composers aim to pick up where romanticist composers left off.

Neo-Romanticism sought to create music that was accessible to a wide audience

without sacrificing musicality, difficulty, or sophistication.

• This approach was initially met with controversy in the academic world, where

there was a degree of snobbery toward popular music.

• Despite the controversy, Neo-Romanticism ultimately gained prominence.

� Leonard Bernstein

One of the foremost figures in Neo-Romanticism was Leonard Bernstein, a composer,

conductor, and educator. Bernstein aimed to create music that would be widely listened

to, bridging the gap between intellectual, academic music and music that appealed to a

broad audience.

Bernstein's work often incorporated modernist tonalities, colors, and techniques while

maintaining accessibility. His contributions include:

• Being arguably the best conductor of the 20th century.

• Writing music that appealed to a wide audience.

West Side Story

One of Bernstein's most famous works is the musical "West Side Story," a Neo-Romantic

and modernist piece based on Romeo and Juliet, but set in 1950s New York. The

musical combines singable melodies and recognizable tunes with complex rhythms,

chord changes, and layers.

Bernstein advocated for music that was both sophisticated and accessible. The "Jet

Song" from "West Side Story" exemplifies this approach.

Candide

Another notable work by Bernstein is the opera/musical Candide. It showcases

sophisticated music, incredible vocal technique, and acting. The aria “Glitter and Be

Gay” from Candide is considered among the most difficult and exciting arias for

Soprano ever composed.

� Contemporary Neo-Romantic Composers

The idea that popular music must sacrifice musicality has been a recurring theme in

academia and modern classical music. Despite this belief, many composers have

gained popularity by embracing Neo-Romanticism.

Eric Whitacre

Eric Whitacre is a contemporary composer known for his lush, rich harmonies. His

works are accessible to choirs, school bands, and orchestras, demonstrating his ability

to make music accessible without compromising its artistic purity.

Jennifer Higdon

Jennifer Higdon is another contemporary Neo-Romantic composer who combines

excellent musicality and musicianship with accessibility. Her piece "Blue Cathedral" is

one of the most played symphonic pieces today, showcasing sophisticated

orchestration and appealing to a wide range of audiences.

� Neo-Romanticism: Connecting with Emotion

Neo-romanticism is a musical movement where composers create pieces that are both

modern and emotionally accessible. Instead of trying to be overly complex, neo-

romantic music invites the listener to understand and connect with it.

� John Williams: The Quintessential Neo-Romantic

When it comes to neo-romanticism, one name stands out: John Williams. Often hailed

as the Mozart or Beethoven of our time, he is a prolific film composer who masterfully

combines sophistication with accessibility. His work consistently references historical

musical sources.

John Williams is known for being the master of Neo-Romanticism,

combining sophistication and accessibility in his compositions while

always referencing historical sources.

� 1984 Olympics Theme: More Than Just a Tune

One of John Williams' notable works is the theme he composed for the 1984 Los

Angeles Olympics. What was meant to be a one-time theme became much more

significant, evolving into a epic theme that is still used for the Olympics today, 40 years

later.

He has also won Oscars for:

• Jaws

• Star Wars

• Superman

• E.T. the Extra-Terrestrial

• Return of the Jedi and MORE!

MUSIC 12 STUDY GUIDE: MAY 7

PART 1

� History of Jazz: An Overview

⏱ Accelerated Time Scale

The short history of jazz is rich and complex, with as much development in the last 100

years as classical music has experienced in the past 1,000 years.

⚔ Crisis in Cultivated Music

When we last left classical music, there was a crisis due to the rise of popular music.

There were two reactions:

• Serialists/Modernists: Intensely cerebral classical music

• Neoclassicists: A return to order, form, proportion, and restraint; keeping with

established forms.

• Film score emerged as a middle ground, incorporating elements from both

camps and finding appeal in popular culture.

o Many film composers were of Jewish heritage and found a place to

express themselves in the emerging film industry after being driven out of

Europe.

� The Emergence of Jazz

Jazz began as popular, colloquial music and quickly ascended to cultivated music,

challenging classical music's sole position on the “intellectual high ground.”

� New Orleans: The Birthplace of Jazz

Jazz could only develop in a city like New Orleans.

• t was a mixing place of cultures from around the Gulf, the Caribbean, and South

America, creating a "gumbo" of different traditions.

• The city was characterized by extremes, both virtuous and vice.

� Defining Jazz

Jazz is a blend of African, Latin, and European forms and styles that emerged from the

cultural melting pot of New Orleans.

• In its early days, jazz was played primarily by African American musicians in the

red-light districts of New Orleans and was often considered immoral music.

� Jazz: An American Original

Jazz is recognized as one of the most innovative and original forms of African-

American cultural expression. It is considered America's genuine classical music, deeply

rooted in the Black experience in America.

� Early Jazz Recordings and Pioneers

• The first jazz recording was made by an all-white band from New Orleans, whose

songs sold over a million copies, introducing a watered-down version of jazz to a

broader audience.

• During World War I, James Reese York led the Harlem Hellfighters, a segregated

troop of African American soldiers, and formed a band of Black military men who

spread jazz throughout Europe.

• Pioneers like Buddy Baldwin, Jelly Roll Morton, Bessie Smith, Mamie Smith, Louis

Armstrong, and Duke Ellington propelled jazz to popularity, leading to the Roaring

20s being known as the Jazz Age.

� Musical Roots of Jazz

Jazz evolved from various musical traditions:

• Ragtime: Contributed syncopation (playing against and off the beat) and

precision.

• Latin and African Traditions: Introduced polyrhythm and advanced beat

subdivision techniques, creating emergent beats.

• Blues: Infused jazz with improvisation and the rhythmic style of "swing."

• Spirituals: A source of musical and thematic inspiration.

� Improvisation in Jazz

“Improvisation means composing on the spot, making it up as you go along.”

Improvisation is a core element of jazz, inherited from the blues.

� The Blues: The Heart of Jazz

The Blues is an African-American music genre developed in the South during the mid-

1800s, expressing heartache and sorrow while incorporating storytelling and individual

expression through improvisation.

The term "the blues" comes from the idea of having "the blue devils" on you,

representing something that's bothering or weighing you down.

The Blues is characterized by being improvisational and portable, often played with

small instruments like guitars and harmonicas.

� The Blues: A Foundation of American Music

Blues is fundamental to most American popular music styles, including:

• Jazz

• Country Music

• Rock and Roll

� Key Features of the Blues

• Pentatonic Scale: The blues utilizes the pentatonic scale as its base.

• Blue Note: An additional note added to the pentatonic scale, giving the blues its

distinct sound and influencing jazz profoundly. The blue note is a slightly out-of-

tune note, often played as a chromatic passing figure.

� Robert Johnson: A Blues Legend

Robert Johnson is a mythological figure in blues history.

• Legend: He allegedly made a deal with the devil at a crossroads to become the

best guitarist in exchange for his soul.

• Impact: Johnson's recordings defined blues, incorporating polyphonic and

polyrhythmic elements.

Robert Johnson and the Birth of New Musical Styles �

Robert Johnson's guitar playing was revolutionary. He used a steel string guitar and

played it with a glass slide (a medicine bottle on his finger). This technique, combined

with finger picking, allowed him to play the bass, accompaniment, and melody all at

once.

• Johnson's music contained the roots of rock, jazz, and even hip hop.

• His influence, along with the blues, crossed over into white musical

consciousness, leading to the development of hillbilly music, or country music.

Racial Division in the Music Industry �

Early 20th-century music had broad appeal, but the emerging record industry divided

music along racial lines. Musicians were often willing to collaborate and "trade licks,"

but record companies marketed music separately to black and white audiences.

Euphemisms for music aimed at black Americans:

• Race records (early term)

• R&B (Rhythm and Blues)

• Urban music (contemporary term)

• This division was pushed by record companies to control markets, despite

musicians often fighting against it. As jazz evolved, there were segregated

jazz bands, but integration also occurred because jazz is about bringing

different elements together.

The Essence of Swing �

Swing is a rhythmic feel that lies between simple and compound meters.

• In simple meter, beats are divided neatly (e.g., one and two and three and...). I

• In compound meter, beats are divided into triplets (e.g., one two three, one

two three).

• Swing combines these, creating a feel that can lean closer to simple or

compound meter.

Swing is hard to notate traditionally because it's about feel. It's an essential part of jazz,

alongside improvisation.

Jazz as an Aural Tradition �

Jazz is primarily an aural tradition. Musicians listen, play, copy, and then ad-lib.

Improvisation occurs within agreed-upon rules.

Jelly Roll Morton: An Example of Early Jazz �

Jelly Roll Morton, a "godfather of jazz," exemplified early jazz with his piano playing. His

playing features:

• Blues scales and influences

• Precision

• Swing

He combined the improvisational elements of blues with the precision of ragtime and

incorporated swing. Morton's left hand often played ragtime inserts, and his foot

provided a steady pulse. He would improvise, following chord progressions but never

playing a piece the same way twice.

Morton's playing also featured elements of ragtime, blues, and even classical music.

Collective Improvisation �

Collective improvisation is when the whole ensemble plays something where

everyone is writing their own parts.

To avoid chaos in collective improvisation, musicians establish rules, boundaries, and a

chord progression (chord changes). Each musician has a role (rhythm, bass, melody,

etc.) and listens to each other. This cooperation is the foundation of New Orleans jazz.

� The Birth of Jazz in New Orleans

New Orleans was a melting pot of musical traditions:

• Celebrations

• Opera

• Military marching bands

• Folk music

• The blues

• Church music

• Ragtime

• African drumming

• Various dance styles

When all these musical styles blended together, jazz was born.

Key elements of New Orleans jazz include:

• The Big Four rhythm

• A front line of horns

• Collective improvisation, where each instrument contributes a unique sound

Founding fathers of jazz include:

• Buddy Bolden

• King Oliver

• Jelly Roll Morton

• Louis Armstrong

� The Sociological Elements of Jazz

Jazz embodies sociological elements that made it counter-revolutionary in totalitarian

regimes. These include:

1. Improvisation and Personal Expression: Jazz encourages individuality and

creativity.

2. Collaboration and Community: Ensemble performances rely on teamwork and a

shared vision.

3. Integration and Multiculturalism: Jazz integrates different cultures and reflects

the idea of e pluribus unum (out of many, one).

4. Respect for Tradition and Black Excellence: Jazz venerates musical elders and

celebrates the excellence emerging from the African-American experience.

� Louis Armstrong: A Jazz Pioneer

Louis Armstrong was a brilliant musician and marketer who shared the values of jazz

worldwide.

Armstrong started off playing the cornet, and later switched to the trumpet.

Early Recording: Dippermouth Blues

In 1923, Armstrong recorded "Dippermouth Blues" with King Oliver's Creole Jazz Band.

Innovation in Recording and Radio

Armstrong recognized the importance of radio and recording. He faced racial

segregation in America, which limited his opportunities to be filmed.

Taking Jazz to Europe

In 1933, Armstrong performed in Copenhagen, taking jazz and its values to a European

audience.

� Louis Armstrong in Copenhagen, 1933

Louis Armstrong's 1933 concert in Copenhagen showcases his multifaceted talent.

• He was a consummate showman who knew how to entertain, yet his musical

excellence was undeniable.

• Every note he played was perfect, and his band was "smokin'."

This performance encapsulates everything that made Armstrong great:

• Showmanship: Engaging the audience and putting on a captivating performance.

• Musical Excellence: Flawless execution and mastery of his instrument.

• Cultural Significance: Performing jazz, a distinct musical form, for an all-white

European audience.

� Jazz and Recording Technology

There's a fascinating relationship between the evolution of jazz and the advancements

in recording technology. As recording quality improved, jazz became more

sophisticated.

"As the quality of recordings gets better, the jazz gets more sophisticated

along with it."

• Early Jazz: Limited by the recording technology of the time.

• High Fidelity Recordings (1950s-1960s): Enabled more interesting experiments

in jazz.

• Contemporary Jazz: Unbound by technological constraints, leading to incredible

innovation.

PART 2

Jazz throughout the 20th Century �

Segregation and Jazz

In the early 20th century, segregation was prevalent in the United States, impacting jazz

ensembles. Integrated multicultural jazz ensembles were often considered scandalous,

despite jazz being a multicultural art form.

The Jazz Age and Prohibition �

The 1920s, known as the Jazz Age, coincided with Prohibition, during which the sale

and transport of alcohol were banned.

• Ironically, drinking became more of a social activity, leading to the rise

of speakeasies and a vibrant bar culture.

Speakeasies: Illicit establishments that sold alcoholic beverages during the

Prohibition era in the United States.

Jazz found a home in these speakeasies, fostering cross-cultural interactions and

sparking a rebellious spirit. This era saw jazz explode into popular consciousness, with

evolution occurring behind the scenes despite the public face of segregated artists.

George Gershwin and the Fusion of Jazz and Classical Music �

George Gershwin, a composer who initially wrote for Tin Pan Alley and Broadway

musicals, sought to incorporate jazz into classical music. Despite his young death at 38,

Gershwin became a seminal composer of the 20th century. He always looked for

experiences to inform his writing.

Among Gershwin‘s significant pieces are:

• An American in Paris: Inspired by his time living abroad, blending Parisian and

American influences with jazzy elements.

• Rhapsody in Blue: Originally written as a piano solo with jazz band

accompaniment, later orchestrated, and is a blend of 1920s jazz with

neoclassicist modernist aesthetics.

“Rhapsody in Blue famously starts with a solo clarinet and this is arguably

the most famous clarinet solo in the world.”

With "Rhapsody in Blue," Gershwin declared jazz as serious music, showcasing its

sophistication alongside classical music. Post-"Rhapsody in Blue," jazz evolved rapidly,

gaining recognition as vital to the culture and important instrumental music.

The Jazz Orchestra (Big Band) �

Jazz originated as a small ensemble art form, evolving into the big band or jazz

orchestra by the late 1930s and 1940s.

Big Band Sections

Section Instruments

Front Row Saxophones

Second Row Trombones

Third Row Trumpets

Rhythm SectionPiano, drums, bass, and sometimes a guitar

This is the standard setup, but the number of instruments can vary.

� Duke Ellington

Duke Ellington was a pivotal figure in solidifying the sound and lineup of the jazz band.

• His sophisticated arrangements and skillful manipulation of tone color, while still

allowing room for improvisation, set a template that is still used today.

• Ellington also made space for virtuoso soloists.

� Harlem Air Shaft

"Harlem Air Shaft" showcases the huge and nuanced sound of Duke Ellington's Jazz

Orchestra, demonstrating the incredible capabilities of the jazz orchestra.

� Glenn Miller

Glenn Miller was arguably the most popular musician of the late 1930s and early 1940s.

His jazz was aimed more at a white audience and had more of a popular appeal, but it

was still very musical. Miller died in World War II while serving as a pilot, making his

music synonymous with that era.

� In the Mood

"In the Mood" is one of Glenn Miller's most famous pieces and exemplifies the popular

big band music of the World War II era.

� The Forerunner of Music Videos

The popularity of big bands like Duke Ellington, Glenn Miller, and Benny Goodman led to

their inclusion in movies. These elaborate musical setpieces served the same function

as what we call music videos today.

� Bebop and the Reaction Against Commercialism

After WWII, there was a movement in jazz to pull away from commercialism and return

to its intellectual roots, focusing on smaller ensembles, spontaneity, improvisation,

musical sophistication, and virtuosity. This movement is known as bebop.

� Characteristics of Bebop

• Smaller ensembles

• More spontaneity

• More improvisation

• More musical sophistication

• More virtuosity

• Fast scales

• Complex chord changes

• Pushing the boundaries of tonality

� Charlie Parker

Charlie Parker, also known as "Bird," was a saxophone virtuoso and a leading figure in

the bebop movement.

� Cherokee

"Cherokee" is one of Charlie Parker's most famous recordings, showcasing his virtuosity,

fast rhythms, and complex chord changes.

� Bebop Form

Despite it’s internal complexity, most Bebop charts (the term given to the pieces Jazz

platers would perform) generally followed a straightforward style with a clear form:

• Head: The main melody

• Improvisation: Musicians improvise over the chord changes of the head. This

could last for a very long time

• Return to Head: The ensemble returns to the main melody to end the piece.

Hard Bop: Bebop with a Beat �

Hard bop emerged as a sub-genre that took the sophistication of bebop and amplified

the rhythmic elements. It's essentially bebop with:

• A prounounced beat

• Loud drums

• A strong groove

• Lots of polyrhythms

One of the leading figures in hard bop was Art Blakey, a drummer who brought

percussion to the forefront.

Jazz Standards: The Foundation for Improvisation �

Pieces like "A Night in Tunisia," "Cherokee," "All the Things You Are," and "I Got Rhythm"

are considered jazz standards.

Jazz standards are pieces of music that everyone's expected to know.

They're melodies and expected chord changes.

These standards became popular because they are:

• Recognizable tunes

• Excellent vehicles for improvisation

Jazz musicians would create numerous variations of these standards, using them as a

framework for their creativity. Focusing on standards gave bop musicians an organizing

principle to feature their improvisational skills.

Latin Jazz: A Fusion of Rhythms �

Latin jazz emerged from the collaboration between Dizzy Gillespie and Chano Pozo.

Inspired by hard bop's emphasis on rhythm, they combined jazz with the percussion-

based music of Latin America. It blends bebop sensibilities with Afro-Cuban rhythms. A

famous example of Latin jazz is "Manteca".

Cool Jazz: Stripping It Down �

As jazz evolved, some felt it became too complex, leading to a reaction spearheaded

by Miles Davis. Davis proposed a "cooler" approach, giving birth to Cool Jazz.

Feature Bebop Cool Jazz

Emphasis Speed and virtuosity Mood and feeling

Tempo Fast Slow

ComplexityHigh Lower, but still sophisticated

Focus Complex lines and rhythms Color, feeling, and atmosphere

Cool jazz focused on:

• Mood

• Setting a feeling

• Playing slow

• Color

• Feeling

Davis wanted to explore the ancient modes and mix them with modern-day tonality to

create a laid-back sound. In cool jazz, the focus shifted away from fast, hard lines,

resulting in a more atmospheric and restrained style.

• Davis’ “melodies” were sometimes just two or three notes played in sequence

Contemporary Jazz: A Blend of Genres �

In the late 1960s and early 1970s, jazz's popularity waned as rock and pop music took

center stage. However, jazz continued to evolve, combining with rock and roll and

electronics. Today, jazz is considered a cultivated art form, taught in music

conservatories and seen as equal to classical music.

Snarky Puppy exemplifies contemporary jazz, blending:

• Bebop

• Latin jazz

• Hip hop

• Electronics

• Rock and roll

MUSIC 12 STUDY GUIDE: APRIL 30 2025

PART 1

20th Century Music: Transition and Tension �

Context: Interwar Period

The lecture focuses on the transition happening in early 20th-century music,

particularly after The Rite of Spring, and examines the interwar period (between World

War I and World War II).

Music's Two Directions

Classical music was pulled in two main directions:

• An increasingly intellectual, dense, and incomprehensible style spearheaded by

the Expressionists.

• A more popular, friendly, and expressive style, continuing the Romantic

tradition.

Societal Tension: Liberal Democracy vs. Totalitarianism �

A new axis of tension emerged:

• The societal struggle between liberal democracy and totalitarianism.

o The collapsing of old imperial structures in Europe and colonialism abroad

led to the rise of totalitarian systems like communism, fascism,

and military juntas.

o Simultaneously, liberal democracies flourished (though imperfectly) in the

places like the United States and Western Europe.

o Post-colonial struggles emerged, particularly in Africa and South America.

• Music became a vehicle for totalitarian ideologies.

o Communism allowed (in its own way) for more creative expression within

strict limitations.

o Fascism tended to stifle creativity, co-opting existing works.

• Totalitarian oppression drove many creatives, especially those of Jewish

backgrounds, to the United States, where they were key in developing a new sub-

branch of classical music which would eventually be known as film scores.

Lili Boulanger: A 20th-Century Pioneer �

Overview

Lili Boulanger (and her older sister, Nadia Boulanger) were the two most important

women of the 20th century.

• Lili died young, but Nadia continued composing and became a prominent

pedagogue, shaping modern music education.

Lili Boulanger's Style

• Blended modern and traditional styles seamlessly.

• Believed in the best of the old and the best of the new.

• Was a modernist who sought to express herself personally in her music.

Psalm 24: A Textbook Example �

• Is a powerful expression of personal faith.

• Combines personal expression with cultivated classical music.

Revolutionary Aspects of Psalm 24

• Language: It's in French, not Latin which was unconventional for religious

expressions at the time.

• Influence: It was incredibly influential on modern sacred music composers like

Ralph Carmichael, Tom Fenke, and Doug Hulk.

• Nationalism: Expresses a sense of French patriotism, reflecting lingering 19th-

century traditions.

Modern Elements

• Incorporates old musical elements like Begorin Chan and Organa and singing in

parallel fifths.

• Puts old musical elements in a new context.

• Foreshadows postmodernism, particularly the idea that forward progress

involves drawing from the past.

Summary of Boulanger's Psalm 24

Aspect Description

Style Bold, strident, powerful

Elements Combines old musical elements with a modern framework

LanguageFrench

Impact Influential on modern sacred music, foreshadows postmodernism

Lili Boulanger: A Tragic Prodigy �

Lili Boulanger was a genuine prodigy who could express things musically in a way that

few others could. It's argued that she could have been one of the most significant

composers of the 20th century if fate had been kinder.

Background and Early Life �

Born in 1893, Lili Boulanger was the younger sister of Nadia Boulanger. While Nadia was

a child prodigy in her own right, some sources indicate that Lili's musical abilities were

even more exceptional.

However, Lili faced a significant obstacle: her health.

“At the age of three, Lili contracted intestinal tuberculosis, an incurable

disease at the time, leading to a lifetime of constant illness.”

Despite this, she devoted her life to music, attending classes at the Paris Conservatoire

with her sister Nadia from the age of five, absorbing as much musical knowledge as

possible. She learned violin, piano, voice, and harp, making her public debut in 1901 at

just seven or eight years old. Lili quickly mastered the concepts taught in theory and

harmony courses and began taking organ lessons from Louis Vienne.

Early Works and Style �

Some of Lili Boulanger's earliest surviving works were written around the age of 17 or

18. These include:

• Nocturne for Flute and Piano: A piece with gorgeous, subdued beginnings that

builds to passionate climaxes with beautiful French harmony. It showcases lucid,

beautiful, and expressive music for someone so young.

• Les Sirenes: A work with a Debussian influence and gorgeous siren textures,

possibly a practice piece for the Prix de Rome. It shows her developing a

recognizable style.

• Pour les Funérailles d'un Soldat: A piece with dark hints of Dies Irae. At 19, she

already demonstrated facility with a large orchestra and chorus.

Prix de Rome Competition �

The Prix de Rome was a major goal for any composing student at the Conservatoire,

with winners almost guaranteed a successful career. Previous winners included Hector

Berlioz, Charles Gounod, Georges Bizet, and Claude Debussy.

“The competition involved composers spending two weeks in a villa,

composing a cantata for orchestra and soloists to a given text with only

pencil, paper, and their audiation.”

Nadia Boulanger attempted to win this prize three times but was unsuccessful.

Competition YearAgeResult

1912 18 Withdrew due to ill health

1913 19 Won the Prix de Rome

1913: Triumph with Faust et Hélène

In 1913, Lili Boulanger entered the competition again. For the first round, she wrote Soir

sur la plaine, a cantata with great piano textures and gorgeous choir chords.

For the final round, she composed Faust et Hélène. The cantata includes:

• Gorgeous, delicate textures reminiscent of Debussy.

• Wonderful melodic lines.

• A love scene that rises to a climax.

• The characters singing "Je t'aime" with the tenor rising higher than the soprano

momentarily.

• A descent into the realm of Mephistopheles.

• Brilliant moments of excitement.

• Great climaxes.

Lili Boulanger managed to turn the subpar text into something exceptional while

adhering to the competition's restrictions. Debussy even wrote a review of this work in

the journal SEM.

“Lili Boulanger is only 19 years old. Her experience of the techniques

of writing music is far greater, however.”

Lili's cantata won the Prix de Rome competition with 31 out of 36 votes. She composed,

orchestrated, and wrote it in two weeks without ever hearing it performed.

Nadia Boulanger's Legacy

Nadia Boulanger, Lili's sister, lived a long life and passed away in 1979. Her legacy is

still fresh, with people alive today who studied with her. Nadia Boulanger set the

template for modern music education. While her compositional abilities might not have

matched her sister Lili's, Nadia's great genius was in education, bringing out the best in

students.

Students like Aaron Copland, Philip Glass, and Quincy Jones studied with Nadia

Boulanger.

Nadia Boulanger's Revolutionary Teaching Methods �

A Rejection of Toxic Music Education �

Historically, music education involved:

• Brutal apprenticeships

• Slave-like conditions

• Breaking a student's will

• Forcing practice to the point of physical harm

• Constant criticism with no positive feedback

This approach resulted in technically perfect musicians who were "broken on the

inside."

Boulanger's Humanistic Approach to Teaching �

Nadia Boulanger sought to change this paradigm by incorporating:

• Humor

• Active engagement

• A positive approach

• A nurturing strictness that encouraged students to find their best selves

• Narrative and emotive metaphors

The Importance of History and Innovation �

Boulanger believed that innovation requires an appreciation for history. She thought

that understanding the past allowed for the creation of infinite new music. She set a

new standard for music education.

Composers on Nadia Boulanger �

Nadia Boulanger was a teacher of legendary status. She was greatly influenced by Igor

Stravinsky.

Boulanger's aesthetic was strongly influenced by her admiration for Igor Stravinsky.

Her students included:

• Aaron Copland

• Roger Sessions

• Walter Piston

• Roy Harris

• Elliot Carter

Unique Position in Contemporary Music �

Boulanger was one of the only people besides Schoenberg at the time with whom one

could study and write contemporary music and receive insightful criticism.

Key Principles of Boulanger's Teaching �

• Every note counts

• Taking great responsibility and focus on musical material

"Every city of America boasts one Walgreens drugstore and one Boulanger

pupil."

Quincy Jones on Nadia Boulanger �

Quincy Jones studied with Nadia Boulanger in 1957. Boulanger was a friend of Ravel

and Stravinsky.

Boulanger's Lessons �

• There are only 12 notes, but infinite possibilities.

• Freedom in music comes from total restriction.

“You don't have freedom in music until you have a total restriction. You

restrict yourself and establish the periphery, and then you have freedom in

music.”

Mark Twain Quote �

Nadia Boulanger's teaching style counteracted the toxic side of music education. Mark

Twain said:

“Anger is an acid which does more harm to the vessel in which it is stored

than to anything on which it is poured.”

Key Developments in Western Music �

Listing all developments in 20th-century music is challenging, but here are some key

areas we'll explore:

Serialism: Intellectual Inaccessibility �

Serialism emerged from the expressionists of the Second Viennese School as a

reaction to pop music. It was a deliberate attempt to make classical music more

inaccessible.

Neoclassicism: A Return to Restraint �

Neoclassicism was a reaction against hyper-modern serialism. It involved a revival of

classical forms with modern reinterpretations and philosophies, such as:

• Clarity

• Melody

• Balance

• Proportion

Neoclassicism sought to reintroduce the philosophical elements of the Classical period

that were lost during the Romantic period and ignored by the serialists. It

emphasized restraint.

The Rise of Popular Music �

Popular music became the most listened-to style of music, supplanting classical music.

This explosion was driven by:

• The birth of the recording industry

• Tin Pan Alley

• Modern popular recordings

The Great American Songbook, featuring songs from Broadway, burst into the popular

consciousness.

Jazz: A Musical Revolution �

Jazz emerged as a revolution in music, evolving from a vernacular form to its own

cultivated form. Its progress was rapid, undergoing as many transformations in a

century as classical music did in a millennium. This progress was inextricably linked to:

• Recording technology

• Instrument technology

Film Music: Technology Meets Tradition �

Film music emerged, grounded in the classical tradition but embracing popular

aesthetics and musical technology. Early Hollywood music was influenced by:

• European traditions

• Popular jazz

• Technologically-driven forms of music

Film music synthesized technology and tradition, and continues to do so today.

East vs. West again: Music and Ideology �

The 20th century saw a division between the free expression of the West and the state-

controlled expression of the East.

Socialist Realism

Socialist realism: The only accepted style of art in communist bloc countries, defined by

the ruling party.

Fascism

Fascism was anti-art, anti-creativity, and anti-intellectual. Fascists co-opted existing

works of art and retconned them into fascist ideology.

MUSIC 12 STUDY GUIDE: APRIL 30 2025

PART 2

Second Viennese School and Serialism �

Democratizing the 12 Notes

Composers like Berg, Webern, and Schoenberg (the Second Viennese

School) aimed to "democratize" the 12 notes of the Western music octave.

“They sought a more democratic way of organizing pitch,

contrasting with traditional tonality.”

Schoenberg developed a system of atonality with rigid rules, mathematical

precision, and modernism. This system is known as serialism.

Serialism Explained �

Serialism involves putting the 12 notes into a new series.

The foundation of serialism is a 12-tone or serial matrix.

• It all starts with a tone row This is called the Prime

• The letters around the matrix (P, I, R, RI) represent different

transformations of the original tone row.

Numbering the Notes:

• Instead of using letters like C, C sharp, D, etc., the notes are

numbered: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, T, and E (10 and 11).

• This creates a base 12 system.

Prime Form (P): The original row of 12 notes chosen by the composer.

Transformations:

• Retrograde (R): Playing the scale backwards.

Retrograde is a fancy way of saying going backwards.

• Inversion (I): Reversing the direction of intervals. If the prime goes up,

the inversion goes down by the same distance.

Inverting simply means if you go up before, now you go the same

distance down.

• Retrograde Inversion (RI): The inversion played backwards.

12-Tone Matrix Table

Symbol Definition

P Prime

R Retrograde

I Inversion

RI Retrograde Inversion

How it Sounds �

Early serialism (pre-World War II) followed strict mathematical rules,

resulting in music that may have sounded random or chaotic to the general

public. Composers focused on rhythms and repeated patterns.

Evolution of Serialism �

Schoenberg continued to develop serialism, aiming to create emotive

music.

Post-World War II serialism demonstrated that 12-tone music could be

emotionally expressive.

A Survivor from Warsaw �

Schoenberg's "A Survivor from Warsaw" is a successful example of

serialism used to convey emotional weight.

• The piece is about the Holocaust.

• It combines 12-tone technique with Sprechstimme (talk-singing).

“Sprechstimme is a type of vocalizing that isn't singing, and it's

closer to rapping than it is singing, but it's not hip-hop. It's a way

of generalizing the pitch and the rhythm of what the narrator

says.”

� Serialism's Evolution

Serialism evolved from intellectual curiosity into a powerful form of musical

expression, capable of conveying intense emotions.

� Neoclassicism: A Reaction

Neoclassicism emerged as a reaction against the emotionalism of the

Romantic era and the perceived chaos of modernism and serialism. It

sought order, clarity, and balance by reviving classical forms.

� Key Principles of Neoclassicism

• Reviving classical forms to achieve order, clarity, and balance

• Blending innovation with tradition

� Stravinsky and Neoclassicism

Igor Stravinsky, known for his revolutionary work "Rite of Spring," became a

leading figure in the Neoclassical movement.

“Neoclassicism was not a literal return to classical harmonies and

melodies but an adoption of their aesthetic principles.”

� "Pulcinella" Suite

Stravinsky's "Pulcinella" suite exemplifies Neoclassicism, sounding like it

could have been written by Haydn or Mozart.

� Elements of Classical Music in "Pulcinella"

• Clear form

• Melody

• Structure

• Repeating patterns

• Identifiable phrases

• Dynamics, balance, and proportion

� "Symphony of Psalms"

In "Symphony of Psalms," Stravinsky combines classical forms with

modern harmony, creating a modern piece grounded in classical

proportions.

� Stravinsky's Philosophy: Form is Freedom

Stravinsky believed that restraint leads to creative nuance. Limiting

possibilities can result in better art. The idea is that constraints of budget,

materials, and time allows creativity to show through.

� Paul Hindemith and the Concert Band

Paul Hindemith, another neoclassical composer,

used tonality and counterpoint (polyphony) in his compositions. He also

embraced the concert band, an ensemble of woodwinds, brass, and

percussion (without strings).

� Symphony in B-flat

Hindemith's "Symphony in B-flat" exemplifies neoclassical aesthetics

combined with modern elements.

• Follows classical proportion, balance, and form

• Incorporates counterpoint and balances tonality and atonality

• A modern piece grounded in classical tradition

The Concert Band as a Serious Ensemble �

Hindemith took the concert band and transformed it into a versatile

ensemble. This transformation helped solidify the concert band as a

serious vehicle for classical music. Because of composers like Hindemith,

the concert band continues to be a serious ensemble, even today.

Concert Bands vs. Symphony Orchestras

In the 20th century, the concert band emerged as a parallel ensemble to

the symphony orchestra. Now, there are two large ensembles that regularly

perform classical music. They each have their own traditions and musical

characteristics, but they also cross-pollinate. For example, in a concert

band, there can be multiple people playing a single instrument, such as six

trumpets. In a symphony orchestra, you may only have two to four

trumpets.

Neoclassicism as a Foundation �

The success of concert bands and band programs in schools is partly due

to Paul Hindemith and the neoclassicists. They thrive alongside the

symphony orchestra and are major performing ensembles.

Neoclassicism vs. Serialism �

Stravinsky's Evolution

Neoclassicism was a reaction to the serialists. However, Stravinsky

eventually became a serialist himself. This demonstrates the spirit of

innovation, competition, and experimentation in the music world at the

time. Artists had the freedom to try new things and see what worked.

“Creative freedom, academic freedom, and personal freedom allowed

artists to innovate.”

Music Under Totalitarianism ✍

Totalitarianism followed its own course. Artists found ways to insert

creativity, protest, and originality into their work. Composers who fled

totalitarian regimes were able to synthesize their ideas into something new.

Totalitarianism drove out some composers, who found new homes in new

genres of music.

MUSIC 12 STUDY GUIDE: APRIL 30 2025

PART 3

�Music Under Totalitarianism �

We'll explore music created under totalitarian regimes, specifically focusing

on communism and fascism in the 20th century.

Ideological Context

• Communism: A distortion of progressive or leftist ideologies, rooted in the ideas

of Marx and Engels.

• Fascism: A distortion of conservative or right-wing ideologies, drawing from

romanticism and nationalism.

o Figures like Adolf Hitler, Benito Mussolini, and Francisco Franco represent

the manifestation of fascism.

In a healthy society, liberal and conservative perspectives balance each other through

checks and balances, including creative freedom. Communism and fascism, however,

represent perversions of these ideologies, leading ultimately to totalitarianism.

The Soviet Union

The Soviet Union was the primary communist power for much of the 20th century.

• After Vladimir Lenin's death, Joseph Stalin seized control, establishing a

paranoid dictatorship.

• The Great Purge: A period in the 1930s marked by arbitrary arrests and killings,

reflecting Stalin's unchecked power.

Under the Soviet system, the government dictated commerce, education, and

art. Socialist realism was the only acceptable form of government-sanctioned art.

Socialist Realism

Socialist realism is whatever the government says it is.

Common characteristics of socialist realism:

• Stoic figures, like soldiers and young citizens

• Absence of smiling, portraying seriousness of revolutionary duty

• Realistic yet stylized representation

• Clear messaging, often serving as propaganda

• Artwork, like portraits of Stalin, depicted leaders as wise and noble figures

Stalinist architecture reflected the state's power through tall, weighty, and gilded

structures.

� Dmitry Shostakovich �

Dmitry Shostakovich embodies the experience of a composer under the communist

system.

• He navigated the complexities of expressing creativity while adhering to Soviet

ideals.

• His true philosophies appear contradictory, reflecting the double-speak prevalent

in the Soviet Union.

• Despite the oppression, Shostakovich found ways to express himself through

music.

Communism encouraged the production of innovative art and culture, stemming from

Marxism's intellectual roots. This led to significant developments in filmmaking and

other art forms.

Shostakovich's opera, Lady Macbeth of the Mtsensk District, was initially tolerated due

to his status as a favored composer, but it was later criticized by Soviet authorities after

Stalin attended a performance.

Shostakovich and Soviet Repression

Stalin's Disapproval

Shostakovich's opera Lady Macbeth was initially well-received but drew the ire

of Stalin after a performance. Stalin, who was in attendance in a metal-reinforced box,

openly mocked the opera. The trombones simulating orgasm, intended as a critique of

Western capitalist society, particularly offended him.

Pravda's Critique

Following the performance, a scathing article titled Muddle or Music was published in

the Soviet official magazine, Pravda. Attributed to Stalin (though likely ghostwritten), the

article denounced Lady Macbeth as garbage and anti-Soviet, leading to Shostakovich's

fall from grace.

Repentance and the Fifth Symphony �

Shostakovich found himself in a difficult position, struggling to make ends meet and

witnessing the horrors of the Great Purge. To rehabilitate his image, he composed his

Fifth Symphony, outwardly presented as "a work of a reformed communist".

Mocking Through Exaggeration �

The Fifth Symphony was Shostakovich's subtle way of mocking the Great Purge. He

amplified themes of Russian patriotic music to an obnoxious degree, blending them

with emotional reflections of the Great Purge. This allowed him to appeal to both the

authorities and the public, who recognized the underlying critique.

Cultural Context and Impact �

The exaggerated Russian-ness of the melodies, while potentially lost on outsiders, was

recognized by contemporary audiences as a grotesque perversion. The symphony

tapped into the fear and emotions of the population, providing a form of protest

disguised as dedication.

Fourth Movement: Grotesque Militarism �

In the fourth movement, Shostakovich exaggerated Soviet marches and militarism to

a grotesque level, symbolically representing the oppressive power of the state while

outwardly claiming to honor the Red Army.

Art Under Communism and Fascism �

Communism: Subtext and Subversion

Under communism, artists like Shostakovich had to thread the needle, using subtext to

express themselves. While often imperfect and sometimes resulting in propaganda,

communism at least promoted art and culture, allowing for the bubbling up of free

expression.

Fascism: Co-opting and Distorting �

In contrast to communism, fascism is inherently anti-art. Instead of promoting new and

progressive modes of artistic expression, it co-opts popular or established art and

retcons them into the fascist narrative.

Examples of Fascist Co-opting

• Imperial Japan: Perverted the Bushido code into something grotesque.

• Franco's Spain: Used Catholic culture to justify atrocities.

• Nazi Germany: Co-opted German music and culture, viewing Norse mythologies

as a history to be renewed.

Traits of Fascism �

• Powerful and Continuing Nationalism: Overabundance of national symbols and

slogans.

• Disdain for Human Rights: Rights are seen as obstacles.

• Identification of Enemies/Scapegoats: Unifying cause through targeting specific

groups.

Fascism is characterized by a variety of traits, including:

• Subjugation of citizens

• Supremacy of the military with disproportionate funding

• Rampant sexism and patriarchal gender roles

• Opposition to LGBTQ+ people, abortion, and sexual autonomy

• Control of mass media

• Intertwined religion and government: Fascism infiltrates existing structures,

unlike communism's revolutionary overthrow.

• Corporate power protection, leading to oligarchy

• Obsession with crime and punishment

• Rampant corruption

Examples of fascist regimes include:

• Imperial Japan

• Franco's Spain

• Mussolini's Italy

• Nazi Germany

Disdain for Innovation �

A key aspect of fascism is its desire to infiltrate rather than innovate.

“Fascism integrates and re-masks existing structures to achieve its goals.”

The “Seven Mountains” Principle ⛰

Fascists often aim to control society by influencing these seven aspects:

• Family

• Religion

• Education

• Media

• Business

• Government

• Arts and Entertainment

Fascist Art �

• Purpose: To oppress and assert dominance.

• Style: Imitative rather than innovative, similar to socialist realism.

Fascist Music �

• There isn't really "fascist music" that survives. However, the fascists retconned

music to fit their narrative.

• Fascist regimes despised the modern, the avant-garde, and the intellectual.

Carl Orff's "Carmina Burana"

• Initially panned by fascist authorities.

• Later co-opted due to its popularity and themes based on medieval poetry,

mythology, and fantasy.

The New Exodus of Jewish Composers and Film Music �

Anti-Intellectualism and Scapegoating

Fascism's anti-intellectualism and scapegoating led to an exodus of Jewish composers

who sought refuge and opportunities elsewhere.

Film Music as a Haven

The rise of "talkies" in the early 1930s provided a new avenue for exiled Jewish

composers to express themselves by applying their modern writing styles and respect

for musical traditions.

Notable Composers

• Erich Wolfgang Korngold

• Max Steiner

Techniques and Characteristics of Film Music

• Incorporation of big, bold themes

• Subtle inclusion of atonality and avant-garde elements

• Blending of thematic and atonal elements

Examples

"The Seahawk" by Erich Wolfgang Korngold

• Blends swashbuckling adventure and romance themes.

• Integrates atonal elements, particularly in battle scenes.

"Casablanca" by Max Steiner

• Heavily influenced by the political climate of World War II.

• Incorporates exotic scales and jazz elements.

Theme Description

Casablanca ThemeExotic, North African sound

La Marseillaise Patriotic French melody

Mystery/Intrigue Danger, intrigue, cluster chords

Love Theme Romance and heartbreak

Film Scores: A New Subgenre �

Influences on Film Scores

• Film scores became a new subgenre of classical music.

• All influences, modernist and traditional, came together to create an entirely new

form of classical music expression.

MUSIC 12 STUDY GUIDE: April 23 2025

PART 1

� Post-Romanticism and the 20th Century That Might Have Been

This section explores the transition from late Romantic to post-Romantic music and the

potential paths the 20th century could have taken.

The End of Romanticism and the Road Not Taken �

• The late Romantic era was evolving, looking to the future instead of dwelling on

the past.

• Several factors derailed post-Romanticism, impressionism, and expressionism:

o Society-upheaval through war and revolution

o The rapid pace of modern life and technological advancement

� Setting the Scene: Late 19th Century Contrasts

The late 19th century was an era of contrasts, fondly remembered yet filled with social

and economic disparities.

• The Gilded Age (United States) �

• Victorian Period (Great Britain) �

• Belle Époque (Continental Europe)�

The Dark Side of Progress �

• The era was built on labor and inequality.

• The rise of robber barons like the Carnegies and Rockefellers.

• Labor struggles and widespread poverty alongside prosperity: wealth gap

Reactions and Reforms ✊

• Socialism emerged.

• Labor unions formed.

• Popular uprisings occurred.

• Social reform movements gained momentum.

Modernism: Looking Towards the Future �

Modernism: The belief in an inevitable intellectual and artistic process

leading to the evolution of society through sustained effort.

• A shift from looking to the past to focusing on progress and the future.

• Belief in the possibility of improving society through wealth and transformation.

• Teddy Roosevelt and the establishment of national parks exemplify this era of

social reform.

� Music and Modernism: Post-Romanticism

With this context, how did music reflect these ideals? Counterintuitively, one of the first

movements we encounter is post-romanticism.

� Post-Romanticism in Music

Post-romanticism isn't musically very different from the romanticism that came before

it. Some exceptions include the embracing of modern instruments and modern

orchestration. It's essentially an advanced extension of Romanticism that continues to

push the limits of harmony and form, seeking to find how far things can be taken.

Orchestration: A Key Defining Characteristic �

Orchestration is a key term in post-romanticism. Instead of finding a philosophical basis

in the past, post-romanticism uses the musical vocabulary of the time and looks

towards the future.

Orchestration: The art of arranging music so it can be played by an ensemble,

understanding that it's both part art and part science.

In the late 19th century, instruments were fully established and of good quality, with

strong players to match. The level of musicianship had risen, leading to the need for

music to keep up and find the limits of what orchestration could accomplish.

“Orchestration is an extension of composing, but not every composer was an

orchestrator. It requires a separate set of skills to expand a tune or idea to a large

orchestra. In the post-romantic period, orchestration reached its absolute limit.”

� Mussorgsky vs. Ravel: A Tale of Two Composers

Modest Mussorgsky was a Russian composer who belonged to the "primitive Russian

school". He was proud of being an unschooled composer, believing his music was an

organic extension of his natural talent.

• Mussorgsky focused on creating accessible music with a certain rawness.

However, he was not an orchestrator and left the task of writing for large

ensembles to others.

Maurice Ravel, on the other hand, was a fabulous composer and arguably the best

orchestrator. His treatises on orchestration are still used today.

• He was part of the wave of modern thought that believed the orchestra could

become a vehicle for modern expression, using modern instruments and

techniques to create modern sound.

� Pictures at an Exhibition: A Case Study

Mussorgsky's most famous piece, Pictures at an Exhibition, is a programmatic work

representing a person walking through the National Gallery of Russia, observing

paintings, and having emotional reactions.

• The piece includes a theme for strolling called the "promenade," with each new

painting leading to a new movement.

The Promenade and Gnomus (The Gnome)

The first movement, "Promenade," represents the person entering the gallery. The

second movement, "Gnomus" (or "The Gnome"), depicts a twisted picture of a goblin.

The music becomes twisted and angular when the viewer sees the goblin.

Ravel's Orchestration of Mussorgsky

Ravel takes Mussorgsky's Pictures at an Exhibition and orchestrates it for the entire

orchestra, turning it into something bigger and more grandiose. He lifts directly from the

piano version but spreads it around and adds his own elements to give it his own color

and flavor.

Element Orchestral Version (Ravel)

Instruments Full orchestra, including brass, strings, woodwinds, and percussion

Promenade

Theme Trumpet (brass)

Contrast Strings

Gnomus Utilizes full orchestra, adds percussion

Additional Sounds Ratchet box, filigree in strings

Tone Color

Multiple tone colors: woodwinds for mud, percussion for crumbling

rocks

Ravel uses all the modern instruments to create a modern-sounding orchestra, adding

percussion, figurations, and filigree in the strings that weren't in the piano version. He

blends the soft textures of the strings with the harsh sounds of the percussion to create

new colors.

� The Peak of Orchestration

Orchestration reached its peak in the late 19th and early 20th centuries. Instruments,

performers' abilities, and the study of acoustics and music theory had all reached their

heights. Composers and orchestrators still look to this period as the peak of

orchestration.

� Gustav Mahler

Gustav Mahler was a late Romantic, post-Romantic composer and a phenomenal

composer and orchestrator.

� Mahler: Composer and Orchestrator

• While it's theorized that Mahler's wife, Alma, may have contributed to his

orchestrations, Mahler is generally considered both

the composer and orchestrator of his works.

• Previous composers had varying levels of sophistication in their orchestrations.

Even though Beethoven's music is considered sacred, some musicologists argue

there is still room for improvement in his orchestration.

• Mahler's works are known for being complex and grandiose. His symphonies can

run up to two hours long, like sitting down for a movie.

Symphony No. 2

• Mahler's Symphony No. 2 showcases the brass section.

• Mahler takes full advantage of the capabilities of modern brass instruments with

modern brass players, which was modern for his time.

� Tchaikovsky: Lushness and Sophistication

• Tchaikovsky was a composer who excelled in

both composition and orchestration. He only orchestrated his own music.

Sleeping Beauty Suite

• Tchaikovsky wrote a suite from the ballet, using all the music of the ballet.

• The waltz from his Sleeping Beauty Suite captures the lushness and

sophistication of the Romantic period's melodies, orchestration, drama, and

excess.

“The Romantic movement at its absolute full bloom and full blossom.”

Singable Tunes

• Tchaikovsky's music has singable melodies that people have added lyrics to and

done wonderful things with.

• His sense of melody, orchestration, and drama is exceptional.

➡ A Shift Away from Romanticism

• The class will explore the pendulum swinging away from romanticism and into a

new era.

• The music emerging from modernism will be less clear and more challenging to

understand.

PART 2

Impressionists and Expressionists

• If Mahler, Ravel, and Tchaikovsky represent one side of the modernist approach

to orchestration, the Impressionists and Expressionists represent something

else entirely.

• This group of composers took music in completely new directions

� Turn of the Century Contrasts

At the turn of the century, the middle class adopted the mannerisms of the upper class,

leading to cultural and social tensions. Although it was an era of prosperity, it was also

marked by exploitation and upheaval.

� Epoch-Defining Events

The 20th century would see some earth-shattering events, including:

• World War I: A conflagration of intertwined treaties and empires, leading to the

downfall of empires and monarchies, and the rise of liberal democracy.

• Conflicts in the Far East: Such as the Russian-Japanese War, marking the

emergence of modern warfare.

• Russian Revolution: Another overthrowing of a monarchy, replaced by

Bolshevism and eventually communism.

Modern technology found a home on the battlefield during these wars, which were

epoch-defining events.

� Impressionism: An Artistic Response

Artists responded to the turmoil and the rise of technology by focusing on the struggle

below the surface. One of the most profound expressions of this came

from Impressionism.

“Impressionism is an artistic movement focused on mood and

atmosphere rather than realism.”

It was a reaction against technology, specifically photography. The purpose of an

impressionistic painting was to capture a mood or idea.

� Impressionistic Examples

• Claude Monet, Sunrise

o This painting captures ships at sunrise in a harbor. Although it appears to be

a realistic scene, it is composed of thick, pastel paint strokes. It creates a

mood through composition, color, the weight of the brush strokes, layering,

perspective, and the general impression.

• Marisol, Woman at her Toillette

o This painting depicts a woman getting ready in the morning, an ordinary

scene. The brush strokes are just gobs of paint, yet they come together in our

mind as an image of a delicate woman in an intimate moment.

• Renoir, Luncheon of the Boating Party

o This painting approaches realism the most but is more sketch work. It

captures the light filtering in and depicts a group of young people hanging out

and having fun.

� Impressionism in Music

Impressionism in music mirrored the qualities of impressionism in art. It gave up the

need for clear-cut melodies and focused on instrumental color, blending the colors of

instruments and creating a mood. Impressionistic music used unconventional

harmonies and non-traditional structures and would use unusual scales, like the whole

tone scale or the pentatonic scale.

� Claude Debussy: A Leading Impressionistic Composer

Debussy was arguably the most prominent of the Impressionistic composers and a

transitional figure bridging the gap from the 19th century into the 20th century. He

prioritized atmosphere and extended chords, using what we would call non-functional

harmony.

� Debussy's Use of Scales

Debussy used exotic scales and structures that did not necessarily create a sense of

song or melody, but prioritized atmosphere.

Concept Description

Whole Tone

Scale Used to create a mood without a clear melody.

Pentatonic

Scale All the black notes.

Musical

Gestures

More important than overt melodies. There's form, there's structure, but it

is not random and we are guided in our listening by hearing recognizable

musical pattern, even if they are not singable melodies

� Characteristics of Musical Impressionism

• Few recognizable chords (major, minor, or sevenths)

• Uses the acoustic space and silence

• Plays with our sense of space and atmosphere

No major, no minor, no up, no down, just mood and impression

Prelude to “The Afternoon of a Faun”

• Approaches something closer to a melody, something closer to traditional

harmony, but still uses a lot of chromaticism and flowing rhythms.

• Uses silence as part of the music.

• No singable melody, but we recognize themes.

� The Progression of Tonality

• Tonality: the power of major and minor keys that has been present since the

Renaissance

• Extended Tonality: tonality pushed to new places with new chords, either through

borrowing from other keys or chromatically altering the notes by a half step or

so.

• Pan-tonality: Departing even further from tonality, abandoning chordal function

in favor of color and shape.

• Atonality: abandoning the conventions of tonal music altogether.

“Debussy is a transitional figure between pan-tonality and atonality”

� Erik Satie

• Embraced the new style of writing because he had the personality for it.

• Loved to make music to troll people and challenge the status quo

• Innovator of what we now call ambient music.

• Wanted to create music that would evoke emotional reaction without demanding

deep analysis or deep listening.

☕ Gymnopédie No. 1

• Music that was meant to just be felt, experienced, almost ignored.

• Meant to be listened to casually.

• Not averse to using major and minor chords or writing a melody.

• Lives comfortably in extended tonality.

• Takes its time and simply exists to create a mood.

� Impressionism vs. Expressionism

Feature Impressionism Expressionism

Focus Creating a soft mood

Emotional expression through

exaggeration, distortion, intensity

Intent Not overt realism

Bold expression, grabbing your

attention

Characteristics

Fluidity, subtlety, suggestion, soft

edges, creating an impression,

capturing a moment in time.

Intensity, distortion, vibrant colors,

bold lines, capturing the power and

intensity of a moment in time.

Example

Renoir painting of clear human

forms with no overt realism.

Satie's Gymnopédie No. 1

"Blue Horses" by Franz Marc, "Starry

Night" by Vincent van Gogh

Expressionism in Art

Expressionism uses distortion, exaggeration, and pushing limits to express intense

emotion.

• Starry Night by Van Gogh

• The Scream by Munch is a prime example.

o The image is distorted to represent a scream personified.

o Colors and perspective amplify the intense emotion.

o Sound waves seem to emanate from the screaming figure, distorting the

surroundings.

Expressionism in Music

Expressionist composers used dissonance, atonality, and angular rhythms to express

turmoil and angst. It was an attempt to create music that was deliberately atonal.

The Second Viennese School �

Composers Arnold Schoenberg, Alban Berg, and Anton Webern, all German gentlemen

in Vienna, deliberately sought to create expressionist music.

• They called themselves the Second Viennese School in reference to Haydn,

Mozart, and Beethoven.

• They aimed to be the new sound, pushing intellectualism.

Key Characteristics:

• Intellectualism: Their music was dense and mathematical, meant to challenge

the listener.

• Difficulty: They deliberately wrote music hard for casual listeners and rewarding

to intense study.

• Their music was deliberately dense and difficult for casual listeners to protest

the ascendency of popular music

Anton Webern �

Webern's music is notable for its precision, even though it may sound random on first

listen.

• Every note and rhythm was an expression of a mathematical formula or

deliberate logical calculation

• He combined mathematics with distortion, dissonance, and atonality.

• His music creates inversions and a sense of palindromic form.

Béla Bartók �

Bartók sought to make expressionism more accessible.

• He liked the idea of mathematical precision but wanted broader appeal.

• He tried to repackage expressionism.

Bluebeard's Castle

His one-act opera, Bluebeard's Castle, is filled with expressionistic symbolism and

reflects inner turmoil.

• Blends moments of tonality with atonality.

Microkosmos: a collection of short piano pieces.

• Focuses attention directly on the piano.

• Merges tonal and atonal elements, using ostinato and driving rhythms.

• Creates a percussive feel, expressing intensity even without recognizable

melody.

Key Elements in Bartók's Approach:

Element Description

Ostinato Repeating figures

Driving RhythmsCreates a sense of pulse and intensity

Percussive Feel Adds to the intensity, even without a recognizable melody

Tonality Flashes Moments of tonality mixed in with a tonality

The Birth of 20th Century Music �

May 29, 1913, is a pivotal date.

• The premiere of a ballet about springtime in Paris marked the beginning of 20th-

century music.

• Igor Stravinsky's The Rite of Spring is the definitive work, breaking open the door

for the new era.

PART 3

� Igor Stravinsky

Stravinsky's Importance

• It is hard to overstate Stravinsky's importance.

• If you were to define the 20th century by a single composer, it's got to be

Stravinsky.

• Stravinsky was a Russian-born composer, educator, theorist, and philosopher,

who permanently left Russia in 1914.

• The Rite of Spring arguably shaped the trajectory of 20th century classical music

more than any other single piece.

Stravinsky's Eras

Stravinsky's work can be divided into three eras:

1. Russian period

2. Neoclassical period

3. Serial period

Russian Period

• Stravinsky's earlier works were inspired by Russian folk themes.

• Inspired by a sense of nationalism.

Neoclassical Period

Neoclassicism: A movement that emerged in the 1920s that sought to

return deliberately to the proportion and form of the classical period.

• Stravinsky was a key proponent of neoclassicism.

• They saw themselves as what would happen if classical music kept going

without the Romantic period in between.

Serial Period

Serialism: The idea that you can democratize the 12 notes of Western

music without the need to traditional melodic or chord function

• Rearrange the 12 notes in a way that is not hierarchical or based on old-

fashioned harmony.

• Stravinsky was initially opposed to serialism but later became one of its biggest

champions.

Stravinsky's Compositional Process

• Stravinsky was always playing around with the idea of harmony and how he

assembled his music.

• He wrote his music on long sheets of paper.

• He would write cellular music, meaning he would write musical cells that would

interact one with the other.

� The Firebird

• A piece from Stravinsky's early work.

• The finale of The Firebird Suite sets the stage for the Rite of Spring.

• It is bold and original.

• You can hear shades of expressionism and impressionism.

• Stravinsky found a way to synthesize these elements in his own unique style.

• Stravinsky found a way early on in his career to take all the modern trends and

put them into a package that was easily accessible for most people.

� The Rite of Spring

• Stravinsky wanted to continue to push himself and audience.

• Stravinsky wanted to completely subvert audience expectations.

• First performed in May 1913 at the Théâtre de Champs-Élysées in Paris.

• The narrative follows an ancient pagan community worshipping the earth and

preparing for the sacrifice of a woman intended to bring about the change of

seasons.

• The ballet is much more concerned with the violent relationship between

humans, nature, and culture than with character or plot.

• Combines harsh music, jerky dancing, and uncanny staging.

• Challenged the orchestral traditions of the 19th century.

• Composed on the cusp of both the First World War and the Russian Revolution.

• Reflected in various formal experiments, including innovative uses of

syncopation or irregular rhythm, atonality or the lack of a single key, and the

presence of multiple time signatures.

• Stravinsky spliced in aspects of Russian folk music.

Collaboration with Nicholas Roerich

• Artist Nicholas Roerich collaborated with Stravinsky on the Rite of Spring.

• Roerich was obsessed with prehistoric times, and drew from Russian medieval

art and peasant garments to create costumes that hung awkwardly on the

dancers' bodies.

o Roerich set them against vivid backdrops of primeval nature, full of jagged

rocks, looming trees, and nightmarish colors.

Choreography by Vaslav Nijinsky

• Legendary dancer Vaslav Nijinsky developed the choreography for the Rite of

Spring.

• Nijinsky contorted traditional ballet to both the awe and horror of his audience.

• The dancing in the Rite of Spring is agitated and uneven, with performers

cowering, writhing, and leaping about as if possessed.

Synopsis and Impact �

• The ballet tells the story of a pagan ritual in which a young woman dances

herself to death.

o The original choreography involved dancers turning their toes inwards and

landing awkwardly off the beat.

o The music features loud bangs and jarring strings, ending abruptly on a

harsh, haunting chord.

• Despite its controversial debut, The Rite of Spring has had a lasting impact,

influencing modern jazz, classical music, and film scores, particularly in horror

movies.

The Joffrey Ballet's Historically Informed Performance �

• In 1987, the Joffrey Ballet recreated the original costumes and choreography

of The Rite of Spring as closely as possible.

• The goal was to provide an experience of the ballet as it was originally intended,

even if it meant discomfort for the audience.

• Understanding the ballet isn't as important as experiencing it.

The Birth of Modern Dance �

• The Rite of Spring is considered a pivotal work in the birth of modern dance

MUSIC 12 STUDY GUIDE: April 9 2025

PART 1

� The Transition from Romanticism to the 20th Century

As the 19th century neared its end and the 20th century approached, Romanticism

began to wane, prompting artists to explore new modes of expression.

� Experimentation with Harmony

Wagner's use of the Tristan chord opened doors for experimenting with non-traditional

harmony. While tonality had been the standard since the late Renaissance, composers

started exploring different scales.

� New Scales

Composers started playing with entirely new ways to come up with scales.

• Pentatonic Scale

o The pentatonic scale, once considered rustic, was now seen as exotic and

symbolic of faraway places.

• Whole Tone Scale

o The whole tone scale lacks the built-in tension and release of traditional

scales, creating a nebulous quality. It contains no semitone intervals, only

whole steps.

• Octatonic Scale

o The octatonic scale is composed of alternating half steps and whole

steps, creating a sense of tension and excitement.

o Octatonic Scale Patterns

• Whole step, half step

• Half step, whole step

� Exoticism

Exoticism: A trend in the 19th century where artists took inspiration from other cultures,

sometimes innocently and sometimes insensitively.

Exoticism ran parallel to nationalism, with composers incorporating exotic scales to

evoke faraway places.

� Giacomo Puccini

Puccini combined the heightened realism of the Italian Verismo style with exoticism.

Verismo: A style in Italian opera that focused on realistic, dramatic stories.

Madame Butterfly � �

Puccini's most famous work, Madame Butterfly, is set in Japan, a country seen as

mysterious and exotic. The opera incorporates pentatonic and whole tone scales

to mimic Japanese music.

Plot Summary

A geisha falls in love with an American sailor, who leaves and returns married.

The opera explores themes of love, tragedy, and cultural clash.

• Puccini incorporated what he believed to be Japanese scales and music

into Madama Butterfly to convey a sense of exoticism.

• The story of Madama Butterfly is universal and beloved, which creates an

interesting dynamic when considering cultural appropriation.

• In the 19th century, there was limited exposure to multiculturalism and fewer

people of Japanese ethnicity in Italy, which influenced the opera's production.

Orchestration �

• Puccini's orchestration in Madama Butterfly is surprisingly sparse compared to

Wagner's complex, layered compositions.

• The melody is the primary focus, with the orchestra often playing in unison with

the singer.

• Puccini aimed to imitate the sound of Japanese music, which he perceived as

monophonic or austere.

• His intention was to move away from the grandiose orchestration of Wagner and

previous Italian opera, seeking a stripped-down exoticism.

Kabuki: Japan's Opera �

• Kabuki is a traditional Japanese art form that combines music, drama, and

dance.

• It serves as Japan's version of opera, with its own costumes, traditions, and

highly structured performances.

• Only certain families can perform specific roles, rooted in tradition and history.

• Kabuki is a sophisticated theatrical art form with intricate choreography and

pantomime.

Dvořák and the "American Sound" ��

• Antonin Dvořák, a Czech composer, spent considerable time in the United States.

o There was a debate about what would constitute the American classical

music sound.

o Dvořák recognized the musical traditions of Native Americans and black

Americans, which had been largely dismissed at the time.

o He believed that the music of black Americans would define the American

sound.

Symphony No. 9 "From the New World" �

• Dvořák's Ninth Symphony, "From the New World," interprets American music by

interpreting and adapting from melodies, Native American music, and Black

music into melodies approachable for European audiences

• The symphony aimed to introduce American culture and high art music to

Europe.

Movement 1 �

• The first movement begins with a subdued, mournful feel rather than a grand,

bold opening, before transitioning to its bold, stately main theme

Movement 3 �

• Dvořák's third movement presents a neutral yet compelling musical landscape.

• He incorporates extended harmonies, showcasing a widespread, ambitious

musical exploration.

• This movement represents Dvořák's interpretation of Native American music.

Movement 4 �

• The fourth movement embodies the burgeoning power of the United States, as

perceived by Dvořák.

• Some melodies may sound familiar, as they have been used in other famous

compositions.

Movement 2: Largo - An Homage �

• Often regarded as Dvořák's tribute to the music of emancipated African

Americans.

• It serves as an homage to their spirituals, songs of struggle, and expressions of

heartache.

• While not an authentic American melody, it reflects Dvořák's interpretation and

appreciation.

• Dvořák proclaimed that the music of African Americans represented the future of

American music, recognizing its beauty and sophistication.

"Going Home Movement": A popular name for the second movement, owing

to its recognizable and emotionally resonant melody.

• Dvořák was commissioned to write the symphony and sought inspiration in

American music.

� Orchestral Performance Notes

• Performance notes from orchestras, such as the Los Angeles Philharmonic, offer

valuable resources for research and writing about music.

• These notes often showcase an approachable writing style while delving into the

history and cultural intersections of the music.

o They can serve as inspiration for concert reports and final projects.

PART 2

� Music in Late 19th Century America

� America in the Late 19th Century

America was undergoing rapid transformation:

• Urbanization: Transitioning from an agricultural nation to an urban society.

• Civil War: A division between North and South, reflecting deeper ideological

splits:

• Continuing Tensions: The urban-rural divide persists to this day.

• Nation of Immigrants: The definition of what it meant to be an American was

complex and contested, involving questions of birthright, contribution, and

equality under the law.

America's diverse music scene reflected these changes, with music from

various ethnic groups, interconnected communities, and different social

classes.

� Evolution of Music Distribution

Until the late 19th century, music was primarily experienced live. The invention of

recording allowed music to be distributed without a live performance.

• Sheet Music Industry: Before recording, the sheet music industry thrived as

people sought access to the latest music for live performance. Sheet music was

mass-produced, marking a shift from carefully crafted individual pieces to an

industrialized process.

• The industrialization of sheet music production paved the way for the recording

industry.

o

• Recording Industry: The ability to capture and distribute music led to the birth of

the recording industry. It was more efficient to mass-produce piano rolls or

gramophone records than to send touring musicians.

� Brass Band Music and John Philip Sousa

Brass band music was highly symbolic of late 19th century America.

• John Philip Sousa: Known as the "March King," Sousa was a prominent band

leader, composer of marches, and an American nationalist. His music became

synonymous with the optimistic spirit of the Gilded Age.

• Popularity of Brass Bands: Brass bands were common in towns across America,

providing community entertainment.

o Accessibility: Brass instruments were durable, relatively cheap, and could

be mass-produced.

o Sound: They were loud, requiring fewer players for a significant sound.

• Association with Americana: Brass band music became closely associated with

the sound of Americana.

• The Stars and Stripes Forever: Sousa's most famous march, composed in 1896,

became the official national march in 1987. It was inspired by homesickness and

memories of his time leading the Marine Band.

� New Instruments and Virtuosity

The late 19th century saw the introduction and refinement of new instruments:

• Saxophone: Invented in the 19th century, the saxophone found a home in brass

bands, despite struggling to gain acceptance in classical music.

• Chromatic Instruments: Brass instruments evolved to become chromatic,

featuring modern valves and buttons. The cornet was one of the first mass-

produced chromatic brass instruments.

o Cornet: Similar to a trumpet but with valves, allowing for fast, virtuosic

playing. Cornet solos became a highlight of brass band performances.

Cornet Virtuosity

• The 19th century featured cornet soloists who displayed great virtuosity.

• Cornet performances were a highlight and would "wow the crowd".

• The music was heard in small towns or light urban settings.

� Rural American Folk Music

• There was an emergence of a new type of folk music coming out of rural

America.

• This planted the seeds for what we now call country music.

• Ancient melodies from Europe evolved, and Americans began to write their own

folk melodies, becoming a distinct musical entity

Emergence of Original Folk Sound

• Instead of recycling ancient melodies, they crafted their own unique folk sound.

• It was performed for their own entertainment.

• String instruments like the violin and mandolin were common.

• The banjo, a distinctly American instrument, grew in popularity.

• This music would evolve into Bluegrass music, and Country music

� African American Spirituals

Cultural Preservation

• African Americans preserved their cultural traditions in their music.

• This music was filled with musical techniques such as:

o Polyrhythm

o Call and response: A musical form where one person calls out a line, and

others sing it back.

• The melody of "Amazing Grace" is theorized by some musicologists to be an

African melody.

Harry T. Burley and the Formalization of Spirituals

• Harry T. Burley worked with Dvorak and wanted to formalize spiritual music with

the formality of art songs.

• Burley wanted to synthesize black spiritual music with the art song tradition.

• His music would come to be known as Spirituals.

• Spirituals laid the groundwork for what we now call Gospel music.

Fisk Jubilee Singers

• They popularized spirituals by touring the United States, retracing the routes of

the Underground Railway.

• Early recordings of "Swing Low, Sweet Chariot" by the Fisk Jubilee Quartet

captured their performance style.

• Their performances emphasized emotive inflection and word painting combined

with exacting teqhnique.

Legacy and Evolution

• The Jubilee Singers are still around and performing today.

• Spirituals served as a vehicle to introduce black music to a wider audience,

including Dvorak.

• Black music was beginning to be seen as something that was meant to be

experienced by everyone.

� Ragtime Music

• A popular type of piano playing that incorporated musical traditions from Africa

and were incorporated into black music.

• Incorporated:

o Syncopation: playing off the beat.

o A jaunty, spirited accompaniment

o Complex, leaping, or “ragged” melodies

� Ragtime and Scott Joplin

Ragtime is mainstream, non-spiritual music originating primarily from the black

tradition.

� Scott Joplin: The Ragtime Genius

Scott Joplin was the preeminent ragtime composer, pianist, and virtuoso, also

considered a progenitor of jazz.

o t is important to note that Scott Joplin is not a jazz pianist and ragtime is not

jazz.

o Ragtime is written out to be played with skill and precision, but foreshadows later

developments in American popular music.

Joplin utilized both sheet music and recording technology to disseminate his music.

⚙ Player Pianos and Mass Distribution

Player pianos captured musical performances onto paper reels, allowing for mass

production and distribution.

Player pianos allowed even those who couldn't play music themselves to enjoy

popular tunes like Scott Joplin's "The Maple Leaf Rag" at home.

This mass distribution contributed to ragtime's popularity, bringing black culture into the

mainstream.

� Player Piano Demonstration

Player pianos work by using a vacuum system to read the dots on a paper roll. These

dots trigger the keys. Early models were mechanically powered, while later versions

used steam or electricity. A technician could adjust the piano's speed and volume while

it played, but fancier models could do it automatically.

✍ Tin Pan Alley: The Birthplace of Pop

Tin Pan Alley refers to both a physical location (a songwriting district in New York) and

a musical style characterized by catchy, easily transcribed tunes.

� Key Features of Tin Pan Alley Music

• Accessibility: Tunes were designed for home performance and catchiness.

• Naughtiness: Lyrics often contained hidden jokes and innuendos.

• Mass Appeal: Music was created for widespread popularity and easy

reproduction.

� The Industry of Songwriting

Tin Pan Alley songwriters worked around the clock, creating a style of music that could

be quickly written, engraved, and distributed. The sheet music created had a mechanical

look due to the standards they followed.

� Transition to Recordings

With the advent of Thomas Edison's phonograph, Tin Pan Alley transitioned from sheet

music to recordings. This shift led to the development of a specific sound optimized for

the limitations of early recording technology.

� Impact on Music History

Tin Pan Alley laid the groundwork for pop music, rock music, and the entire recording

industry.

� Example: "He'd Have to Get Under, Get Out and Get Under"

o This song exemplifies the style of Tin Pan Alley music, including its use of slang

and potentially suggestive lyrics.

o The song uses the metaphor of fixing a car to represent sexual innuendo.

Tin Pan Alley and the Rise of American Pop Music �: Vernacular Music Overtakes

Classical Music

The emergence of Tin Pan Alley marked a pivotal moment where vernacular music

began to overshadow classical music as the primary cultural expression.

o This shift was fueled by elements of vaudeville and burlesque, creating catchy

and sometimes bawdy tunes.

PART 3

British Light Opera: �

• Light opera emerged as a distinct form of musical entertainment in Britain,

providing a contrast to the more intense and grandiose nature of traditional

opera.

• Key characteristics:

o Absence of bel canto singing style

o Use of smaller ensembles and orchestras

o Few arias and examples of virtuosity

o Shorter songs and runtimes

o Flexibility to adapt music and lyrics for local jokes and improvisation

o Satirical content targeting politicians and high society

Gilbert and Sullivan ✍

• Gilbert and Sullivan were a lyricist and composer duo who popularized British

light opera.

• Their work stood out for its humor and satire, making opera more accessible to a

wider audience.

• Examples:

o The Mikado: A musical set in Japan, incorporating exoticism while

satirizing British politics.

o HMS Pinafore: Satirizes the British ruling class and those who gain

prestige through birthright rather than merit.

o Pirates of Penzance: Features the song "I am the Very Model of a Modern

Major-General," a send-up of a military general who demonstrates the

“fast-singing” style popular at the time

Musical Characteristics �

• British light opera distinguishes itself through several key musical elements:

o No Bel Canto Singing: Singers do not employ the athletic bel canto style.

o Smaller Ensembles: Orchestras are smaller, and the music is adapted to

be played by as few musicians as possible.

o Adaptability: Music and lyrics can be changed to include local jokes or

inside jokes.

Accessibility and Popularity �

• British light opera gained popularity due to its accessibility and entertainment

value, similar to Tin Pan Alley in America.

• It was considered music for the masses, enjoyable by a broad audience.

• The flexibility of the music allowed it to be performed in smaller theaters with

smaller orchestras, increasing its distribution and profitability.

Exoticism and Satire �

• Gilbert and Sullivan often incorporated exotic settings and themes into their

operas, using them as a vehicle to satirize British society and politics.

• The Mikado, set in Japan, exemplifies this approach. It mimics Japanese music

while primarily serving as a commentary on British issues.

HMS Pinafore: Satirizing the Ruling Class �

• One of Gilbert and Sullivan's favorite subjects was satirizing the British ruling

class.

• In HMS Pinafore, they mock those who believe themselves superior and have

earned their positions of prestige simply by birthright.

• The song "When I Was a Lad" exemplifies this, where a Grand Admiral describes

how he achieved his position by doing nothing of substance.

Pirates of Penzance: Fast Singing �

• Gilbert and Sullivan also liked to play around with the idea of fast singing.

• From their musical, Pirates of Penzance, the song "I am the Very Model of a

Modern Major-General" features a character who thinks he's an intellectual giant

but essentially useless

• The song is known for its rapid delivery of words.

� Gilbert and Sullivan's Adaptability

Gilbert and Sullivan's work is adaptable, allowing for modern references and satire. The

speaker has seen versions of their work that make fun of Australian and American

politicians/situations.