Education
Music 271: 4/20/07II: American Neo-Classicism concluded: Copland’s Piano Variations and beyond:• Copland, Elliot Carter were all Neo-Classic composers• Rhythmic aspects of early jazz (ragtime) till the 1920s• Tonal, clear textures: these all can be heard in Copland’s Piano Variations• Schönberg is a Neo-classical composers who uses serial harmonyIII: The Experimentalists (Ultra-modernists): Rejection of both post-Romanticism and Neo-Classicism:A: Henry Cowell and The Banshee (1925):• Neo-Classicism “Attempt to reduplicate a bygone style”• Introduced a new agenda: quest for new sonorities and timbres• The strumming of the piano strings become the new timbresB: Edgard Varese and Ionisation (1933):• Neo-Classicism is “Zealously academic”• Percussion is another source of new timbres and sonorities• Began the percussion ensemble tradition: was the first new piece that wasn’t transcribed from another sourceC: John Cage:• Inspired by Varese, composed works for percussion ensemble, solo percussion (brake drums)• “Discovered sounds”• The father of prepared piano works (after WWII)• New direction of experimentalism: pre-recorded sounds (Magnetic tape)• Magnetic tape could be edited• William’s Mix (1952)IV: George Crumb: A disciple of the Experimentalist as well as a multi-culturalist:A: Crumb’s inspiration: 4 musical domains:1. European Art Music:2. American vernacular music:3. The fusions of folk traditions in WV:4. Elements of African, Indian, and Japanese music:• Highly individual styleB: Ancient Voices of Children for soprano and mixed chamber ensemble (1970): poetry by Federico Garcia Lorca:• Oboe, percussion, piano, musical saw, harp