History of Western Music (Music 330B)

Review Outline for Final Exam (Spring Semester 2009)

This is only an outline, and many details must be filled in from the anthology and textbooks.

The format of the exam will consist of multiple choice, identifications, short questions, and three listening extracts with a question tied to one of them.

Note: NAWM=Norton Anthology of Western Music.

Here are the numbers from NAWM that you will need to know for the exam: nos. 130, 132–134, 137–141a, 142b, 143–148, 153–154, 156–157 (that is, omitting nos. 131, 135–136, 141b, 142a, 149–152, 155, 158).

I. Russian Nationalism.

A. Nationalism in Music.

1. French, German, and Italian composers had a lengthy and distinguished heritage to build upon.

2. Russian, Bohemian, and Scandinavian had little, so these composers turned to their folk roots — songs, subjects for operas, traditional dances — and worked to integrate these elements into a sophisticated style.

3. The idea was not a complete disunity from the European tradition, but to inject a recognizable national identity into it.

B. Mikhail Glinka (1804–57).

1. The first composer to integrate the two — the European tradition and distinct Russian style.

2. Two important operas:

a. "A Life for the Tzar" (1836) — the first Russian opera to be sung throughout.

b. "Ruslan and Lyudmila" (1842).

3. The composers that followed looked to him as the head.

C. The Western Approach.

1. Russian conservatories.

a. St. Petersburg Conservatory, founded in 1862 by Anton Rubinstein (1829–1894).

b. Moscow Conservatory, founded in 1866 by his brother, Nikolay Rubinstein (1835–1881).

2. Piotr Il'yich Tchaikovsky (1840–1893).

a. Studied at St. Petersburg Conservatory.

b. Taught at Moscow Conservatory.

c. From 1878 made his living as a composer, aided by a stipend from a generous widow, Nadezhda von Meck.

3. Distinction between those who relied on Western traditions (and professional training), and those who opposed academic training as a threat to originality.

D. "Moguchaya kuchka."

1. A group of composers located in St. Petersburg.

2. Alexander Borodin (1833–1887).

3. Mili Balakirev (1837–1910).

4. CÈsar Cui (1835–1918).

5. Modest Musorgsky (1839–1881).

6. Nicolay Rimsky-Korsakov (1844–1908).

E. "Boris Godunov" — NAWM 130.

II. Bohemia (now Czechoslovakia).

A. Bedrich Smetana (1824–84).

1. Use of folk tunes, dance rhythms. Wrote many operas in Czech that included these features.

2. Also known for set of six symphonic poems, "M· vlast" ("My Country"). The poems belong together and form a cycle.

B. Antonin Dvor·k (1841–1904).

1. Same characteristics, but allied to traditional means.

2. His works have had better success in the international repertory, especially his "New World" Symphony, inspired by a brief residency in the U.S.

III. Operetta — NOT COVERED.

IV. The German Tradition.

A. By 1850 a repertory of musical classics had been created.

1. By the 1860s nearly 3/5 of the music played in orchestral concerts was by dead composers.

2. By the 1870s, it was nearly 3/4.

B. New field of "musicology" (in German, "Musikwissenschaft").

1. Germans did most of the scholarly work, thus the new science was very "German-o-centric."

2. Collected works of composers were published of Bach (the first) as well as Handel, Mozart, Beethoven, and Schubert.

3. Beginnings of systematic investigation into Renaissance and Baroque music ("Monuments of Western Music").

C. Two tendencies: pro and contra Wagner.

1. Liszt, "Musik der Zukunft," and the "New German School.

2. Brahms, Hanslick, and the rest.

D. "The Second Age of the Symphony."

1. By mid-century, given up for dead as a genre.

2. Around 1870 showed definite signs of life with a series of fine works, including composers such as Brahms, Bruckner, and Tchaikovsky.

3. Ironically, it received its infusion of new life from elements found in the symphonic poem.

a. Program Music.

b. Thematic transformation.

c. Cyclic elements.

4. Important differences with the symphonic poem.

a. symphonies return to multi-movement forms

b. use of sonata form

V. Johannes Brahms (1833–1897).

A. Despite clear romantic tendencies in his music, he was seen as the upholder of "tradition."

1. Program music and the symphonic poem were the latest trends ("Music of the Future").

2. Brahms wrote symphonies with no programmatic content.

3. Perhaps he is best thought of as a "renovator of tradition."

4. "Brahms fully understood what it meant to compose for audiences whose tastes were formed by the classical masterpieces of the last two centuries." (Burkholder, p. 718)

B. Brahms and the Symphony.

1. Intimidated by the example of Beethoven's symphonies.

2. Symphony No. 4 in E Minor, Op. 98 — NAWM 132.

C. Chamber Music.

1. The successor to Beethoven in this area as well, especially in terms of the quantity of his output (24 published works).

2. Piano Quintet in F Minor (1864). Originally string quintet (+cello), rearranged twice: two pianos, piano quintet.

3. Use of "developing variation."

D. Choral Works.

1. His finest choral work is "Ein deutsches Requiem" ("A German Requiem," 1868).

2. Important central work of his career and first important work for orchestra.

3. Influence not strictly from the 19th-century choral tradition but his interest in earlier music (Sch¸tz and Handel) — the third and sixth movements end with huge choral fugues.

VI. The Wagnerians.

A. "New German School."

1. Term coined in 1859 by Franz Brendel, then editor of the "Neue Zeitschrift f¸r Musik."

2. Assigned to composers who followed Wagner, especially in terms of his "Gesamtkunstwerk" and program music.

3. Included such non-Germans as Liszt and Berlioz.

4. On the other side were the advocates of absolute music, such as Brahms.

B. Franz Liszt (1811–1886).

1. Retired as a touring pianist in 1847, and the following year took up the position of Kapellmeister in Weimar.

2. Developed the genre of the "symphonic poem" during the late 1840s, early 1850s, ultimately publishing twelve by the end of the decade.

3. "Les prÈludes" (see Ex. 28.5, p. 729).

a. Single-movement form with contrasting sections similar to the contrasting sections of a symphony.

b. Use of "thematic transformation" — "transforms the thematic material into new themes or other elements, in order to reflect the diversified moods needed to portray a programmatic subject." (Glossary)

4. Two programmatic symphonies:

a. "Faust" Symphony (1854, rev. 1857), based on the drama by Goethe.

b. "Dante" Symphony (1856), based on the "The Divine Comedy" with movements named after the major divisions of the poem ("Inferno" and "Purgatory").

5. Other composers wrote symphonic poems after Liszt's example.

a. Smetana's "M· vlast."

b. Tchaikovsky's "Francesca da Rimini."

6. Influence in chromatic harmony.

C. Anton Bruckner (1824–1896).

1. Early works mostly sacred music.

2. First symphonies in 1860s.

3. Similar to Brahms in that his awe of Beethoven kept him from completing a symphony until past the age of 40.

4. Also very much in awe of Wagner, and his music is considerably more chromatic as a result.

5. Large symphonic structures, unlike any other.

6. Choral Music.

D. Hugo Wolf (1860–1903).

1. Remembered for his 250 songs, which are heavily indebted to Wagner's chromatic style.

2. Real years of maturity date from 1888, with a sudden outpouring of song.

3. Tendency to concentrate on a single poet:

4. "Wagnerian opera condensed into a 3–4 minute song."

E. Richard Strauss (1864–1949).

1. Father was principal horn player in the Munich Court Orchestra for 42 years, very conservative in musical taste.

2. By 1874 Strauss had heard Wagner's operas and studied the score of "Tristan."

3. Actively composing by 1880s.

4. Summer of 1885 — position of assistant conductor.

5. For most of his career he would compose and conduct, and not only his own works.

6. Premiere of tone poem "Don Juan" in 1889. Great success. Series of tone poems, virtually all in the repertory today:

a. "Don Juan" (1889, sonata form).

b. "Death and Transfiguration" (1890, sonata form).

c. "Till Eulenspiegel's Merry Pranks (1895, rondo).

d. "Also sprach Zarathustra" (1896).

e. "Don Quixote" (1897, theme and variations)

f. "Ein Heldenleben" (1898).

7. "Don Quixote." — NAWM 133.

VII. Diverging Traditions in the Later Nineteenth Century.

A. France.

1. Music Schools.

a. Conservatoire: stressed technical training with an emphasis on opera.

b. …cole Niedermeyer (founded 1853): general instruction but focused on church music.

c. Schola Cantorum.

2. The Cosmopolitan Tradition: CÈsar Franck (1822–90) — more eclectic.

a. Earlier in his career he was known as an organist and for his organ music.

b. Mature works incorporate thematic transformation (Liszt) and chromatic harmony (Wagner).

c. Many of his best known works are from the last decade of his life: Symphony in D Minor (1888) and the Sonata for Violin and Piano (1886).

3. The French Tradition: Gabriel FaurÈ (1845–1921) — more distinctive "French" quality.

a. Characteristics: Drew upon works of older French composers; order and restraint.

b. FaurÈ studied under Camille Saint-SaÎns (1835–1921).

c. Professor of Composition at the Conservatoire in 1896 and director from 1905 to 1920.

d. Some of his compositions are heard with some frequency, especially the Requiem (1887), also chamber music.

B. Russia.

1. Piotr Il'yich Tchaikovsky (1840–1893).

a. Russian influence, but more indebted to the west than the "five" were.

b. Most successful at combining classical forms and Russian nationalism.

c. Many important works, very much played today:

d. Symphonies No. 4–5 are both cyclic, and No. 4 appears to have a program.

2. Contributions of the "moguchaya kuchka."

a. Alexander Borodin (1833–1887).

1. Two string quartets (1874–79 and 1881).

2. Symphony No. 2 in B Minor (1869–76).

b. Modest Musorgsky (1839–1881).

1. "Night on Bald Mountain" (1867).

2. "Pictures at an Exhibition" (1874).

c. Nikolay Rimsky-Korsakov (1844–1908).

1. "Capriccio Espagnol" (1887).

2. "Sheherazade" (1888).

C. Other Countries.

1. Bohemia.

a. Bedrich Smetana (1824–84).

b. Antonin Dvor·k (1841–1904).

2. England.

a. Edward Elgar (1857–1934).

b. Presides over the rebirth of a new English group of composers.

3. Norway: Edvard Grieg (1843–1907).

VIII. The United States.

A. The classical tradition.

1. Many Germans immigrated to the United States during the 19th century.

2. These immigrants retained their national traditions.

3. They also became members of orchestras and taught music at all levels.

4. Their taste and style dominated classical music through WWI.

B. American composers in the classical tradition.

1. All serious composers studied in Germany.

2. John Knowles Paine (1839–1906) — first professor of music at Harvard.

3. George Whitefield Chadwick (1854–1931) —director of New England Conservatory of Music.

4. Horatio Parker (1863–1919) — first dean of Yale School of Music.

5. Edward MacDowell (1860–1908) — first professor of music at Columbia University.

C. Amy Marcy Beach (1867–1944).

1. Fine virtuoso pianist.

2. In 1885 she married Henry Harris Aubrey Beach (1843–1910), a physician and amateur singer.

3. She basically taught herself counterpoint, orchestration, and theory.

4. In 1911, after her husband's death, she traveled to Europe to make her reputation there, with some success, returning with the outbreak of WWI.

5. Wide variety of works, with some recognition of the way music was changing over the course of her career.

6. Piano Quintet in F-sharp Minor, Op. 67 — NAWM 134.

IX. Modern Times, 1898–1918.

A. A self-consciously "modern" era.

1. New technologies: electric lighting and electrical appliances.

2. Invention of the automobile and its affordability.

3. First working airplane (1903).

4. New views on the human mind: psychoanalysis (Freud).

B. New arts: Impressionism and cubism in painting.

1. Change in how we "see" art.

2. Suggestive rather than representational.

C. Invention of the phonograph.

X. Modern Music in the Classical Tradition.

A. Gustav Mahler (1860–1911).

1. "Wunderhorn Symphonies" — "Des Knaben Wunderhorn" (From the Youth's Magic Horn), (three volumes, 1805–8).

2. Symphony No. 5 (1902), Symphony No. 6 (1904), Symphony No. 7 (1905), without any vocal parts.

3. Final phase:

a. Symphony No. 8 ("Symphony of a Thousand," 1906)

b. "Das Lied von der Erde" ("Eine Symphonie" — his real No. 9, 1909)

c. No. 9 (he thought he had beat the curse, 1909).

d. Died after orchestrating Symphony No. 10/i, Adagio.

4. "Kindertotenlieder" ("Songs on the death of children") — NAWM 137.

B. Richard Strauss (1864–1949).

1. Turned to opera after the turn of the century.

2. First works heavily indebted to Wagner.

3. Then "Salome" (1905) and "Elektra" (1909) — extremely dissonant and expressionistic.

4. Then he made an about face with "Der Rosenkavalier" (1911).

5. Strauss continued in this late romantic vein for the rest of his life (he lived until 1949 and wrote his last opera in 1942), even as the world changed around him.

C. Claude Debussy (1862–1918).

1. Impressionism.

2. Extremely gifted pianist, in the Conservatory by 1872.

3. Won second prize, Prix de Rome, 1883, first prize 1884.

4. Formative influences:

a. 1888 and 1889 in Bayreuth ("Tristan," "Parsifal," and "Meistersinger").

b. Also World Exhibition in Paris in 1889 with its Javanese Gamelan Ensemble.

5. First important work: "Prelude to the afternoon of a faun."

6. Other important works: "PellÈas et MÈlisande" (1893–1902), setting of a play by Maurice Maeterlinck (no libretto). "La mer" (1905).

7. Piano works: "PrÈludes" (Book I, 1910).

a. use of whole-tone scales

b. chordal planing.

9. Three Nocturnes, no. 1, "Nuages" ("Clouds") — NAWM 138.

XI. The First Modern Generation.

A. Maurice Ravel (1875–1937).

1. Often grouped with Debussy as an "impressionist" composer.

2. Years of mastery beginning 1905.

3. Continued to compose through 1932, but he slowed down after WWI.

4. A debilitating disease takes over around 1932, and there are no further compositions. Dies 1937.

B. Manuel de Falla (1876–1946).

1. By far the best known Spanish composer of the 20th century.

2. Earlier works contain melodic and rhythmic qualities of Spanish popular music.

3. Later works combine Spanish elements with neoclassical techniques (Harpsichord Concerto, 1923–26).

C. England.

1. The English composers who followed Elgar had nationalist tendencies, as they looked for distinctive voice.

a. Found in folk songs: Cecil Sharp (1859–1924), important collector and editor.

b. Used in the music of Vaughan Williams and Holst.

2. Gustav Holst (1874–1934).

3. Ralph Vaughan Williams (1872–1958).

D. Leos Jan·cek (1854–1928).

1. Also collected folk songs and studied rhythms and inflections, developing a style based on them.

2. Reached an artistic maturity later in life, and characteristic works do not begin appearing until after 1900.

3. Very original style with sometimes little care for practical considerations.

4. Several operas that are performed.

E. Jean Sibelius (1865–1957).

1. Established a reputation as Finland's leading composer in the 1890 with a series of symphonic poems.

2. From 1897 supported by the Finnish government as a national artist.

3. More international period after 1900:

4. Stopped composing in the late 1920s.

5. Always a tonal composer with a unique approach to form.

F. Sergei Rachmaninov (1873–1943).

1. Rachmaninov and Scriabin — classmates at the Moscow Conservatory and two different styles that drew upon Russian traditions.

2. At the Moscow Conservatory from 1885–1892, where he studied piano and composition.

3. Left Russia in 1917, arrived in New York by 1918.

4. Always a fine pianist, he made his living primarily as a performer after this time — made many recordings, also as a conductor.

5. Works: 3 symphonies, 4 piano concertos, various piano works (including preludes and "etudes-tableaux").

6. Musical style reworks elements from the Romantic tradition.

7. Prelude in G Minor, Op. 23, no. 5 — NAWM 139.

G. Alexander Scriabin (1872–1915).

1. At the Moscow Conservatory with Rachmaninoff.

2. After 1902 preoccupied with philosophical ideas.

3. Early style heavily influenced by Chopin.

4. In later piece an ecstatic aspects enters in — many works entitled "poem."

5. Association of notes with color.

6. "Mystic" chord.

7. "Vers la flamme," Op. 72 — NAWM 140.

XII. The Avant-Garde.

A. Movement that challenged the classical tradition.

1. "avant-garde" — French military term to describe a group that prepared the way for the main army.

2. French artists used the term to describe themselves exploring new territory.

3. "Used for art that seeks to overthrow accepted aesthetics and start fresh." (Burkholder, p. 796)

B. Erik Satie (1866–1925).

1. Gifted but lazy.

2. Very influential on othe composers.

3. "Parade" (1917).

a. "realistic ballet" — with no story line.

b. score includes jazz and parts for siren and typewriter.

c. Picasso designed the sets and costumes.

C. Futurism.

1. A music of noises.

2. No surviving music, but their ideas influenced others.

XIII. Challenge of Modernism.

A. Composers in the early 20th century faced the challenge of creating works worthy of performance alongside classics of the past.

1. Younger composers wanted a more radical break from the past.

2. Result was a division into composers who continued in the romantic style (Rachmaninov and Sibelius) and those who looked to challenge expectations.

B. Expressionism.

1. Aimed to portray an introspective experience.

2. In art, represented real objects or people in grossly distorted ways.

3. Idea was to explore the hidden world of the psyche.

4. Reflected in music both by subject matter and by atonality.

XIV. Arnold Schoenberg (1874–1951).

A. Background.

1. Style of early period: very romantic, following the lead of Wagner as developed by Richard Strauss (and later Mahler).

2. Music becomes increasingly more dissonant.

a. String Quartet No. 2 (1907–08), Op. 10.

b. "emancipation of the dissonance": no tonal center, no one note more important than another.

3. Works of 1909 are completely free of tonal associations:

B. "Pierrot Lunaire," Op. 21 — NAWM 141a.

1. Schoenberg was commissioned to write the cycle by the actress and cabaret singer Albertine Zehme.

2. Use of "sprechgesang" or "sprechstimme."

C. After the achievements of 1909–12, Schoenberg begins to slow down.

1. Since about 1920, he had been composing and attempting to codify his system of composition with twelve tones.

2. Tone row and its four operations.

3. Suite for Piano, Op. 25 — NAWM 142b.

XV. Alban Berg (1885–1935).

A. One of two students of Schoenberg who can stand beside their teacher (the other was Anton Webern, 1883–1945).

1. Began study with Schoenberg in 1904 (first year taught free).

2. Work until 1914 followed closely that of Schoenberg: songs, string quartet, orchestral pieces.

3. Tended to work very slowly and methodically.

B. "Wozzeck" — NAWM 143.

1. Georg B¸chner (1813–1837) — author.

2. Structure of the opera.

C. Violin Concerto (1935).

XVI. Anton Webern (1883–1945).

A. Autumn 1902 — enters University of Vienna.

1. Ph.D. in Musicology in June 1906 — thesis was an edition of Heinrich Isaac's "Choralis Constantinus."

2. Met and began studying with Schoenberg in 1904 and worked with him through 1908.

B. These were the same years as Alban Berg and the crucial period when Schoenberg made the leap into atonality.

1. As with Berg, Webern follows Schoenberg's development closely: first into atonality, then into twelve-tone.

2. All three also experimented with very short works (1–2 minutes in length), but it was Webern who made who made these brief works an important aspect of his style.

3. It is unclear when Schoenberg introduced Webern to his new twelve-tone ideas — no later than 1922.

4. Characteristics of Webern's style.

a. sparse instrumentation (the ensemble rarely plays all together)

b. "Klangfarbenmelodie" — the tone color is as important a component as melody and harmony which can result in a melodic line being traded from instrument to instrument ("pointillism").

c. use of contrapuntal techniques (i.e., canon), inspired by his study of Renaissance polyphony

C. Symphonie, Op. 21 (1928) — NAWM 144.

1. properties of row

2. canon

XVII. Igor Stravinsky (1882–1971).

A. Serge Diaghilev (1872–1929).

1. Russian impresario.

2. 1909 — organized the Ballets Russes in Paris.

3. Commissioned Stravinsky's "Firebird" (1910).

4. Next commission: "Petrushka" (1911).

B. "The Rite of Spring" — NAWM 145.

1. Literal translation, "Holy Spring," and refers to a pagan ritual as it might have taken place in Ancient Russia.

2. Riot in the theater.

C. Neoclassical Period.

1. Neoclassicism: "Trend in music from the 1910s to the 1950s in which composers revived, imitated, or evoked the styles, genres, and forms of pre-Romantic music, especially those of the eighteenth century" (Glossary).

2. Stravinsky's neo-classical period begins around 1920, with "Pulcinella" (transcription of Pergolesi pieces for another Diaghilev ballet) and continues with original works.

3. Climax and end of period with his opera, "The Rake's Progress" (1951), following which he enters a twelve-tone phase (1950s, 60s).

4. "Symphony of Psalms" — NAWM 146.

XVIII. BÈla BartÛk (1881–1945).

A. Influences.

1. Became acquainted with music by Wagner and Liszt during his student years.

2. But the work that made the deepest impression was the Budapest premiere of "Also sprach Zarathustra" in February 1902. (Even memorized "Ein Heldenleben").

3. This led to his first major composition for orchestra, the symphonic poem "Kossuth" (1903).

B. Folksong researches.

1. As early as 1904, BartÛk made his first transcription of a Hungarian Peasant Song.

2. 1905 — contact with Zoltan Kodaly (1882–1967), who had the same interests, and the two of them collected and published a volume, "Hungarian Folksongs" in 1906.

3. From 1906 he began using an Edison phonograph to travel all over Hungary doing field work for his research.

4. Affected his music.

C. 1912 — "Bluebeard's Castle" rejected by the jury of the national opera competition and his publisher.

1. Discouraged from composition; turned his attention to folklore studies.

2. "The Wooden Prince," ballet, successful premiere in May 1917, turning point in the public acceptance of his music.

3. 1918 — "Bluebeard's Castle performed."

D. Left Europe.

1. After his mother's death in 1939, he looked to emigrate and left Europe for the U.S. in October 1940.

2. Worked for Columbia University on European folksong materials.

3. April 1942 — health begins to decline.

4. Commissions begin to come through: Concerto for Orchestra (Koussevitsky Foundation) 1944, Violin Sonata (Yehudi Menuhin), Viola Concerto (William Primrose), Piano Concerto No. 3 (for his wife); last two left unfinished at his death.

E. Music for Strings, Percussion and Celesta — NAWM 147.

1. "golden section"

2. neotonal

3. "night music"

XIX. Charles Ives (1874–1954).

A. Son of George E. Ives (1845–94), bandmaster, church musician, and his first teacher.

1. At 14, the youngest professional organist in the state.

2. Studied at Yale with Horatio Parker, graduating in 1898.

3. Worked in the insurance industry, eventually starting his own firm.

4. Married Harmony Twichell in 1908, and the following decade saw some of his most characteristic music.

5. Published his own works and was not recognized for his accomplishments until towards the end of his life.

6. Pulitzer Prize in 1948 for his Symphony No. 3.

B. Ives created a distinct style by synthesizing four distinct musical traditions.

1. vernacular music (popular songs and band music)

2. church music (hymns)

3. European classical music (organ works, counterpoint and fugue, Beethoven's Fifth)

4. experimental works (quotation, polytonality, quarter-tones, chord-clusters, collage)

5. "General William Booth Enters into Heaven" — NAWM 148.

XX. Music, Politics, and the People.

A. France.

1. Neoclassicism.

a. "Trend in music from the 1910s to the 1950s in which composers revived, imitated, or evoked the styles, genres, and forms of pre-romantic music, especially those of the eighteenth century." (Glossary)

b. Beginning is often traced to Stravinsky's ballet, "Pulcinella," based on pieces (he thought were) by Pergolesi.

2. "Les Six."

a. Francis Poulenc (1899–1963); Darius Milhaud (1892–1974); Arthur Honegger (1892–1955); Georges Auric (1899–1983); Germaine Tailleferre (1892–1983); Louis Durey (1888–1979).

b. Certain freshness to their music, light in touch.

1. Musical ideas and forms kept simple.

2. Harmony could vary but always tonal. Interest in bitonality.

3. Also rhythm, especially jazz influence.

c. Honegger: "King David" (oratorio); "Pacific 231" (Symphonic Movement).

d. Milhaud: prolific, 15 operas, 12 symphonies, 18 string quartets; "La crÈation du monde," Le boeuf sur le toit."

e. Poulenc: music has had the most staying power, although at the time he seemed more as the clown of the group. Songs, instrumental works, opera.

B. Germany.

1. "New Objectivity."

a. reaction against the complexity of modern music

b. style favored popular elements, including jazz

c. Ernst Krenek (1900–1991), "Jonny spielt auf" (1927).

2. Kurt Weill (1900–1950).

a. concerned about social aspects of music

b. collaborated with Bertolt Brecht (1898–1956).

c. "Der Dreigroschenoper" (1928) and "Fall und Aufstieg der Stadt Mahagonny" (1930).

3. Paul Hindemith (1895–1963).

a. practical experience as a musican (violin and viola)

b. teacher and textbooks

c. "Gebrauchsmusik" — "music for use"

1. "Term from the 1920s to describe music that was socially relevant and useful, especially music for amateurs, children, or workers to play or sing." (Glossary)

2. Goal was to create music that was high in quality yet suitable for young and amateur performers.

3. He wanted to write a sonata for every instrument of the orchestra.

4. Also fits in with concept of "New Objectivity."

d. "harmonic fluctuation"

e. "Un cygne" from Six Chansons — NAWM 153

4. "Entartete Musik" ("degenerate music").

C. The Soviet Union.

1. "The arts were seen as ways to indoctrinate the people in Marxist-Leninist ideology, enhance their patriotism, and venerate the leadership." (Burkholder, p. 876).

a. "socialist realism"

b. "formalism"

2. Sergey Prokofiev (1891–1953).

a. began his career as a radical modernist

b. travels: Paris, US

c. returns to USSR in 1936

d. next crackdown in 1948

3. Dmitri Shostakovich (1906–1975).

a. talented pianist

b. "Lady Macbeth of the Mtsensk Distrinct"

1. success in 1934

2. "Muddle Instead of Music" (Pravda, 1936)

c. Symphony No. 5 — NAWM 154

D. The Americas.

1. Brazil: Heitor Villa-Lobos (1887–1959).

a. Brazilian rhythms and sonorities

b. "ChÙros" (1920–28)

c. "Bachianas Brasileiras" (1930–45)

2. Mexico: Carlos Ch·vez (1899–1978).

a. Director of Mexico Symphony Orchestra (1928–48)

b. Director of National Conservatory in Mexico City (1928–33)

3. Mexico: Silvestre Revueltas (1899–1940).

a. "Sensemay·" (1938)

b "The work is based on a poem by Cuban poet Nicol·s GuillÈn that reenacts a magical rite of the African-Cuban Mayombe sect." (NAWM p. 1138)

E. The United States.

1. Edgard VarËse (1883–1965).

a. "sound mass"

b. "VarËse aimed to liberate composition from conventional melody, harmony, meter, regular pulse, recurrent beat, and traditional orchestration." (Burkholder, p. 884).

2. Henry Cowell (1897–1965).

a. tone clusters

b. inside-the-piano techniques

3. Ruth Crawford Seeger (1901–1953).

a. Chicago period (1924–29) — dissonance and post-tonal harmonies, "dissonant counterpoint."

b. 1930 — Guggenheim fellowship, to Berlin and Paris.

c. String Quartet — NAWM 156.

4. Aaron Copland (1900–1990).

a. 1920–24 — in Paris where he studied with Nadia Boulanger.

1. She was a French composer, conductor and teacher.

2. Taught at the American Conservatory of Music in Fontainebleau.

b. Early works very modern (dissonant), with some jazz influence.

c. Beginning about 1933 he became concerned about the social significance of music.

d. Appalachian Spring — NAWM 157.

5. William Grant Still (1895–1978).

a. "Dean" of African-American composers (many firsts).

b. "African-American Symphony."

6. Virgil Thomson (1896–1989).

a. Also studied with Nadia Boulanger.

b. His music is "simple, direct, playful, and focused on the present." (p. 890)

c. In Paris 1925–40, wrote two operas to librettos by Gertrude Stein.

1. "Four Saints in Three Acts" (1927–28, staged in 1934).

2. "Pigeons in the grass, alas."