Serialism: Serialism,, in music, technique that has been used in some musical compositions roughly since World War I. Zinstall Winwin Keygen Torrent. Strictly speaking, a serial pattern in music is. Suggested the serial ordering of musical tones as part of a method of composing music, some composers have gone on to serialize other elements of music. Start studying Music App 4. Learn vocabulary, terms, and more with flashcards, games, and other study tools.

• • • 20th-century classical music describes orchestral works, chamber music, solo instrumental works (including keyboard music), electronic music, choral music, songs, operas, ballets, concertos, symphonies, and related forms, as well as fantasies, rhapsodies, fugues, passacaglias and chaconnes, variations, oratorios, cantatas, suites, improvisational and newly developed formal concepts such as variable and mobile forms, that have been written and performed since 1900. This era was without a dominant style and composers have created highly diverse kinds of music.,,,,, and, later, were all important movements.,, and were all developed during this period. Was an important influence on many composers in this period. Contents • • • • • • • • • • • • • • • • • • • • • History [ ] At the turn of the century, music was characteristically late in style. Composers such as, and were pushing the bounds of. At the same time, the movement, spearheaded by, was being developed in France.

Debussy in fact loathed the term Impressionism: 'I am trying to do 'something different—in a way realities—what the imbeciles call 'impressionism' is a term which is as poorly used as possible, particularly by art critics' (, 419). 's music, also often labelled as impressionist, explores music in many styles not always related to it (see the discussion on Neoclassicism, below). Arnold Schoenberg, Los Angeles, 1948 Many composers reacted to the Post-Romantic and Impressionist styles and moved in quite different directions. The single most important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. From this sprang an unprecedented 'linguistic plurality' of styles, techniques, and expression (, 458). In, developed, out of the that arose in the early part of the 20th century.

He later developed the which was developed further by his disciples and; later composers (including ) developed it further still (, 194–96 and 363–64). Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even used the technique in his scores for the cartoons (, 296). Igor Stravinsky After the First World War, many composers started returning to the past for inspiration and wrote works that draw elements (form, harmony, melody, structure) from it. This type of music thus became labelled. ( and ), ( ), Ravel ( ) and ( ) all produced neoclassical works. Italian composers such as and developed musical. This style often tried to recreate everyday sounds and place them in a 'Futurist' context.

The 'Machine Music' of (starting with his Second Sonata, 'The Airplane') and (most notoriously his ) developed out of this. The process of extending musical vocabulary by exploring all available tones was pushed further by the use of in works by,,,,, and among many others.

Microtones are those intervals that are smaller than a; human voices and unfretted strings can easily produce them by going in between the 'normal' notes, but other instruments will have more difficulty—the piano and organ have no way of producing them at all, aside from retuning and/or major reconstruction. In the 1940s and 50s composers, notably, started to explore the application of technology to music in (). The term was later coined to include all forms of music involving,,,, and other electronic devices and techniques. Uses live electronic sounds within a performance (as opposed to preprocessed sounds that are overdubbed during a performance), Cage's Cartridge Music being an early example. ( and ) is a further development of electroacoustic music that uses analyses of sound spectra to create music (; ).

Cage, Berio, Boulez,, and all wrote electroacoustic music. From the early 1950s onwards, Cage introduced elements of chance into his music. ( Prozession,; and Piano Phase, Clapping Music) explores a particular process which is essentially laid bare in the work.

[ ] The term was coined by Cage to describe works that produce unpredictable results (, 197), according to the definition 'an experimental action is one the outcome of which is not foreseen' (, 39). The term is also used to describe music within specific genres that pushes against their boundaries or definitions, or else whose approach is a hybrid of disparate styles, or incorporates unorthodox, new, distinctly unique ingredients. Important cultural trends often informed music of this period, romantic, modernist, neoclassical, postmodernist or otherwise. And were particularly drawn to in their early careers, as explored in works such as and. Other Russians, notably, reflected the social impact of and subsequently had to work within the strictures of in their music (, [ ]).

Other composers, such as ( ), explored political themes in their works, albeit entirely at their own volition (, 450). Was also an important means of expression in the early part of the century. The of America, especially, began informing an American vernacular style of classical music, notably in the works of,, and (later). (Vaughan Williams', 's ) and (Gershwin,, 's ) were also influential.

In the latter quarter of the century, and became important. These, as well as,, and, are more fully explored in their respective articles. Styles [ ] Romantic style [ ] At the end of the 19th century (often called the ), the style was starting to break apart, moving along various parallel courses, such as and. In the 20th century, the different styles that emerged from the music of the previous century influenced composers to follow new trends, sometimes as a reaction to that music, sometimes as an extension of it, and both trends co-existed well into the 20th century. [ ] The former trends, such as are discussed later.

In the early part of the 20th century, many composers wrote music which was an extension of 19th-century Romantic music, and traditional instrumental groupings such as the and remained the most typical. Traditional forms such as the and remained in use. And are examples of composers who took the traditional symphonic forms and reworked them. (See.) Some writers hold that the Schoenberg's work is squarely within the late-Romantic tradition of Wagner and Brahms (, 582) and, more generally, that 'the composer who most directly and completely connects late Wagner and the 20th century is Arnold Schoenberg' (, 10). Neoclassicism [ ].

Main article: Neoclassicism was a style cultivated between the two world wars, which sought to revive the balanced forms and clearly perceptible thematic processes of the 17th and 18th centuries, in a repudiation of what were seen as exaggerated gestures and formlessness of late Romanticism. Iclone G3 Characters here. Because these composers generally replaced the functional tonality of their models with extended tonality, modality, or atonality, the term is often taken to imply parody or distortion of the Baroque or Classical style (). Famous examples include and. ( ) and also used this style. 's is often seen [ ] as (an architectural term), though the distinction between the terms is not always made. Jazz-influenced classical composition [ ]. Main article: Impressionism started in France as a reaction, led by, against the emotional exuberance and epic themes of German Romanticism exemplified.

In Debussy's view, art was a sensuous experience, rather than an intellectual or ethical one. He urged his countrymen to rediscover the French masters of the 18th century, for whom music was meant to charm, to entertain, and to serve as a 'fantasy of the senses' (, 86–87). Other composers associated with impressionism include,,,,,,,,, and (, 115–18). Many French composers continued impressionism's language through the 1920s and later, including,,, and, later,. Composers from non-Western cultures, such as, and jazz musicians such as,,, and also have been strongly influenced by the impressionist musical language ().

Modernism [ ]. Main article: Postmodernism is a reaction to modernism, but it can also be viewed as a response to a deep-seated shift in societal attitude. According to this latter view, postmodernism began when historic (as opposed to personal) optimism turned to pessimism, at the latest by 1930 (, 331). Is a prominent figure in 20th-century music, claimed with some justice both for modernism and postmodernism because the complex intersections between modernism and postmodernism are not reducible to simple schemata (, 241). His influence steadily grew during his lifetime. He often uses elements of chance: for 12 radio receivers, and for piano.

(1946–48) is composed for a: a normal piano whose timbre is dramatically altered by carefully placing various objects inside the piano in contact with the strings. Currently Postmodernism includes composers who react against the Avant-Garde and experimental styles of the late 20th century such as,Argentina and, USA Minimalism [ ]. Main article: In the later 20th century, composers such as,,,,, and began to explore what is now called, in which the work is stripped down to its most fundamental features; the music often features repetition and iteration.

An early example is Terry Riley's (1964), an work in which short phrases are chosen by the musicians from a set list and played an arbitrary number of times, while the note C is repeated in eighth notes (quavers) behind them. Steve Reich's works (1967, for two pianos), and (1970–71, for percussion, female voices and piccolo) employ the technique called in which a phrase played by one player maintaining a constant pace is played simultaneously by another but at a slightly quicker pace. This causes the players to go 'out of phase' with each other and the performance may continue until they come back in phase.

Philip Glass's 1 + 1 (1968) employs the additive process in which short phrases are slowly expanded. La Monte Young's Compositions 1960 employs very long tones, exceptionally high volumes and extra-musical techniques such as 'draw a straight line and follow it' or 'build a fire'. Argues that minimalism was a reaction to and made possible by both serialism and indeterminism (, 139). (See also.) Techniques [ ] Atonality and twelve-tone technique [ ].

See also: is one of the most significant figures in 20th-century music. While his early works were in a late Romantic style influenced by Wagner (, 1899), this evolved into an atonal idiom in the years before the First World War ( in 1909 and in 1912). In 1921, after several years of research, he developed the of composition, which he first described privately to his associates in 1923 (, 213). His first large-scale work entirely composed using this technique was the, Op. 26, written in 1923–24.

Later examples include the, Op. 31 (1926–28), the Third and Fourth (1927 and 1936, respectively), the (1936) and (1942). In later years, he intermittently returned to a more tonal style (, begun in 1906 but completed only in 1939; Variations on a Recitative for organ in 1941). He taught and and these three composers are often referred to as the principal members of the (Haydn, Mozart and Beethoven—and sometimes Schubert—being regarded as the in this context). Webern wrote works using a rigorous twelve-tone method and influenced the development of. Berg, like Schoenberg, employed twelve-tone technique within a late-romantic or style (, which quotes a Bach Choral and uses Classical form).

He wrote two major operas ( and ). Electronic music [ ]. Main articles: and The development of recording technology made all sounds available for potential use as musical material. Generally refers to a repertory of art music developed in the 1950s in Europe, Japan, and the Americas. The increasing availability of in this decade provided composers with a medium which allowed recording sounds and then manipulating them in various ways.

All electronic music depends on transmission via loudspeakers, but there are two broad types:, which exists only in recorded form meant for loudspeaker listening, and live electronic music, in which electronic apparatus are used to generate, transform, or trigger sounds during performance by musicians using voices, traditional instruments, electro-acoustic instruments, or other devices. Beginning in 1957, computers became increasingly important in this field (). When the source material was acoustical sounds from the everyday world, the term was used; when the sounds were produced by electronic generators, it was designated. After the 1950s, the term 'electronic music' came to be used for both types. Sometimes such electronic music was combined with more conventional instruments, Stockhausen's, 's, and 's series of Synchronisms are three examples. Other notable 20th-century composers [ ].