Chapter 32: Postmodernism. Postmodernism An all-inclusive, “anything goes” trend in music There...
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Transcript of Chapter 32: Postmodernism. Postmodernism An all-inclusive, “anything goes” trend in music There...
![Page 1: Chapter 32: Postmodernism. Postmodernism An all-inclusive, “anything goes” trend in music There is no “high” or “low” are – only art One culture is as.](https://reader034.fdocuments.net/reader034/viewer/2022042703/56649e245503460f94b1234a/html5/thumbnails/1.jpg)
Chapter 32:Postmodernism
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Postmodernism
• An all-inclusive, “anything goes” trend in music
• There is no “high” or “low” are – only art
• One culture is as important as the next
• No necessary to separate classical from popular music
• A new agenda for creating music:– Each composition must has its own unique form
according to the demands and creative urges of the movement
– Music no longer goal oriented
– Use of electronic and amplified instruments
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Electronic Music: From Thomas Edison to Radiohead
• Changes in the dissemination of music:– 1877: Edison patented the phonograph
– 1920: Radio
– 1936: Magnetic tape recording
– 1990’s: CD
– Today: MP3 and M4A files
• Changes to how music is created:– Electronic music produced by a synthesizer
– Musique concrète: Music in which the composer works directly with sounds recorded on magnetic tape, not with musical notation and performers
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Edgard Varèse (1883-1965) and Electronic Music
• Born in France but immigrated to the US in 1915 in search of a less traditional artistic environment
• An extreme Modernist reaching forward to the Postmodernist age
• Amériques (1921): Varèse’s first work written in the US– Required a battery of new percussion instruments,
including sirens and sleigh bells
• Ionization (1931): Written for percussion ensemble– Elements of melody and harmony have been removed
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Poème électronique (1958)• Combination of new electronic sounds generated by a
synthesizer with bits of musique concète, including taped sounds of a siren, a train, an organ, church bells, and a human voice– All altered or distorted in some imaginative way
• Created to provide music for a multimedia exhibit inside the pavilion of the Philips Radio Corporation at the 1958 World’s Fair in Brussels
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John Cage (1912-1992) and Chance Music• Special affection for percussion instruments– By 1941, had collected over 300 percussion objects –
anything that might make an unusual noise
• Prepared piano: A piano outfitted with screws, bolts, washers, erasers, and bits of felt and plastic to transform the instrument from a melodic one to a percussive one
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John Cage and Change Music
• Glorification of everyday noise
• The leading proponent of Chance music– Unpredictable sequence of musical events
– Allows performer total artistic freedom
– Questions the principles of Western music
• 4’33” (1952)– Consists of three movements of silence
– Heightens awareness of environmental sounds
– Ambient background noise of the room and whatever external noise may intrude by chance
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John Adams (b. 1947) and Minimalism• Minimalism: A style of postmodern music that takes a
very small amount of musical material and repeats it over and over to form a composition
• Material is usually simple, tonal, and consonant
• Steady tempo creates a hypnotic effect
• Influenced by classical and popular music
• Compositions have an eclectic quality
• 2003: Received the Pulitzer Prize for On the Transmigration of Souls
• Minimalist operas: Nixon in China (1987) and Doctor Atomic (2005)
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Short Ride in a Fast Machine (1986)• Commissioned by the Pittsburgh Symphony
• Scored for full orchestra and 2 electronic keyboard synthesizers
• Composed of short motives that overlap
• “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?”