Notes on 20th Century Classical Music (1900s–1910s)
Context and Historical Perspective (1900s–1910s)
The Twentieth Century brought radical developments across science, art, and culture.
In the historical and cultural context (1900–1913), major discoveries and shifts included:
Sigmund Freud explored the unconscious and developed psychoanalysis.
Albert Einstein revolutionized physics with the theory of relativity.
Pablo Picasso distorted traditional representation in painting and sculpture.
Wassily Kandinsky advanced abstract art, moving away from visual representation.
In music, early 20th century was a time of revolt and experimentation.
Igor Stravinsky’s Rite of Spring premiere (Paris, May 29, 1913) sparked one of the most famous riots in music history, with Sacrificial Dance telling of a prehistoric tribe paying tribute to the god of spring.
Critics claimed the work had no relation to traditional music, producing dissonance and unpredictable notes.
Today, the work is recognized as a masterpiece; its radical chords, rhythms, and percussion sound-world were astonishing for its time.
What was initially considered “noise” or dissonance has become standard in later styles (jazz, rock, film music).
The period is framed as a time when listeners began to hear modern music as an adventure, provided they listened with open ears and without strict preconceptions about how tones should relate.
This era’s transformative language reflected a broader cultural diversification and new freedoms in where people live, how they earn a living, and how they spend time.
Key Concepts: Major Trends in Early 20th-Century Music
New artistic centers and global influence
The United States emerged as a shaping force in world culture, creating a new artistic world center.
Technology fueling art
New technologies spurred new art forms and rapid advances in science and technology.
Open explorations of human experiences
Arts began to explore sexuality more openly and frankly.
Expanded opportunities for marginalized groups
Women, African-American, and minority composers/artists gained more opportunities than before.
Art as commentary on conflict
Creative works expressed reactions to wars and mass violence.
Emergence of new compositional languages
Increased use of:
the 12-tone system, Serialism,
Chance Music (aleatoric processes),
Minimalist approaches
Return to tonal centers for some composers
Liberation of sound
Use of noise-like sounds, unconventional performance techniques (e.g., screaming), and microtones.
Electronic music and new media
Recording tape, synthesizers, and computers opened new sonic possibilities.
Mixed media and concert atmosphere
Multi-media approaches aimed to relax the traditional concert atmosphere and broaden audience engagement.
Source reference: MUSIC: AN APPRECIATION by Roger Kamien (Condensed and Revised for the class).
Minimalist Practice: Clapping Music (Steve Reich)
Clapping Music is an example of Minimalist music focused on a steady beat and the insistent repetition of short patterns.
Structure described as follows (per the slide):
6 bars used for a Final PT (practice/trial performance)
Tempo indication roughly = 160 BPM
Formal segments (as indicated in class visuals):
A (4 times)
B (4 times)
C (4 times)
D (4 times)
E and F (4 times each) [per slide fragments]
Characteristic effect
Repetition creates a trance-like, hypnotic feel and a steady, driving propulsion.
Significance
Demonstrates how simple rhythmic cells and phase shifting can generate complex musical texture without traditional melodic material.
The Rite of Spring: Primitivism and Neoclassicism
Igor Stravinsky’s Rite of Spring, Sacrificial Dance II, is categorized in class materials under Primitivism/Neoclassicism.
Context and impact
The work is associated with a revival of primitive themes and ritual energy combined with modern orchestration.
Its premiere is famous for the riot it caused and its break with the conventional classical ballet language of the time.
Thematic and stylistic notes
Combines raw energy, irregular rhythms, and vivid orchestration to evoke ancient ritual.
Represents a modern language that challenged the audience’s expectations about harmony, rhythm, and form.
Notable career context (class listing of composers)
Featured composers list includes a range from Debussy to John Williams, reflecting a survey of influential 20th-century composers; Stravinsky is highlighted as a central figure with Rite of Spring.
Periodic Movements and Styles in the 20th Century
III Impressionism
Focus on tone color, atmosphere, and suggestion of mood rather than strong, explicit narrative or emotion.
Representative moments include Debussy and his musical palette.
Characteristics:
Often soft, lush textures; an emphasis on colour and sensory impression.
Whole tone scales and fluid rhythms are common.
IV Expressionism
Emphasizes intense, subjective emotion and sometimes harsh dissonance.
Notable work: Arnold Schoenberg’s Pierrot Lunaire, with features such as:
Expression of inner emotions and existential tension
Use of dissonant textures and a move away from traditional tonal harmony
Exploration of the 12-tone system (early development toward serialism)
V Electronic
Pioneering use of electronic techniques and media:
Edgar Varèse’s Poème Électronique (with multimedia associations such as visuals and light shows to enhance communication with the audience)
Theremin as an early electronic instrument (played without touching the instrument via two antennas and electronic processing)
VI Chance (Aleatory)
John Cage’s concept exemplified by 4’33” or related pieces; randomness and audience participation shape the musical world.
Core idea:
Pitches, tone colors, and rhythms may be chosen by random methods (e.g., tossing coins), or left to unintentional sounds produced by the audience.
4’33” specifics
Performers do not intentionally produce sound for 4 minutes and 33 seconds; the ambient sounds of the environment constitute the music.
Philosophical angle: questions about what constitutes music and listening.
VII Jazz
Jazz as a 20th-century form rooted in improvisation with:
Syncopated rhythms, distinctive tonal colors, and performance techniques such as scat singing.
A strong link to popular and Black musical traditions, with a flexible approach to form and rhythm.
Other Notable Terms and Concepts
Liberation of sound
A notion that pushes beyond traditional barriers of what is considered musical sound, embracing noise and unconventional timbres.
Microtones
Use of intervals smaller than the standard semitone; challenging traditional Western tuning systems.
Serialism and 12-tone technique
A method to organize pitch material using a tone row that includes all 12 chromatic pitch classes before repetition.
Tone Row concept: a sequence of the 12 pitch classes that serves as a basis for musical material; variations include retrograde, inversion, and retrograde-inversion.
General idea captured in class discussions of 12-tone composition and atonal practice.
Mixed media
Integrates visual, spatial, or performance elements into the musical experience; used to relax or transform the concert atmosphere and engage audiences differently.
Theremin
An early electronic instrument played without physical contact, using antennae for pitch and volume control; emblematic of early electronic experimentation.
Sprechstimme (Schoenberg’s technique in Pierrot Lunaire)
A vocal technique between speaking and singing, used to express heightened emotion and textual meaning.
Practical Music Theory and Repertoire Highlights
II–V–I Jazz Progression
The most common jazz chord progression is ii–V–I. In C major, this would be:
This progression forms the harmonic backbone of many standards and is a foundational concept for improvisation.
Notable Works and Styles Mentioned in the Course
Debussy, Claire de Lune (Impressionist)
Erik Satie, Gymnopédie No. 1 (Impressionist/Minimalist in approach)
Arnold Schoenberg, Pierrot Lunaire (Expressionist, early twelve-tone influence, Sprechstimme)
Edgar Varese, Poème Electronique (Electronic music with multimedia associations)
John Cage, 4’33” (Chance/Aleatory music)
Igor Stravinsky, The Rite of Spring (Primitivism/Neoclassicism, ballet)
George Gershwin, Rhapsody in Blue (Jazz-influenced orchestral work; crossover between jazz and classical)
Dave Brubeck, Take Five (Jazz, notable for its 5/4 time)
Contextual Connections and Real-World Relevance
The Rite of Spring illustrates how breaking traditional norms can trigger public reaction but also openness to future stylistic revolutions.
The rise of recording technology and electronic instruments created new sonic possibilities that permeate film, television, and modern media scores.
The expansion of opportunities for previously marginalized groups contributed to a more diverse musical landscape and a broader range of voices in composition and performance.
The inclusion of minimalism and chance music demonstrates ongoing interest in process, systems, and the role of randomness or repetition in shaping musical experience.
Jazz styles and forms (e.g., Rhapsody in Blue, Take Five) demonstrate the fusion of popular vernacular with concert music and the cross-pollination of genres that characterizes 20th-century sound.
Practical Tasks and Class Activities (Reminders from Slides)
Identify and select your preferred 20th-century music style/form.
Determine group leadership and member roles for group projects.
Bring appropriate instruments, props, costumes, or recording gear as needed for practice or filming.
Follow the project cycle: Practice time, Mock/Final PT, then Presentation (LIVE or recorded).
Quick Reference: Notable Terminology Summary
12-tone system / Serialism: A method where all 12 chromatic pitch classes are used and organized before repetition; tonality is avoided or de-emphasized.
Aleatory (Chance) music: Compositional approaches that rely on randomness or unpredictable outcomes.
Sprechstimme: A vocal technique blending speaking and singing, used by Schoenberg in Pierrot Lunaire.
Minimalism: Musical style based on repetition, steady pulse, gradual process, and transformation over time.
Mixed media: Use of visual, theatrical, or multimedia elements alongside music to shape the audience experience.
Theremin: Early electronic instrument controlled without physical contact.
ii–V–I progression: A foundational jazz harmony sequence in major keys; e.g.,