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the modern era 1900-1945
Description
The Modern Era
(1900 - 1945):
Toward the end of the 19th century, Romanticism reached its limits of expression, which is evident in Wagner's operas. As a result, diverse and experimental music forms began to emerge, breaking away from the mainstream of Romanticism. These forms included the impressionism of Debussy and Ravel and the surrealism of Satie. The emphasis on irregular rhythms within Stravinsky's The Rite of Spring caused its first audience, in 1913, to riot. Then followed the experimentation in scales and rhythms of Bartók. But possibly the most significant in terms of lasting influence was the atonal and serial approach of Schoenberg and his followers, Berg and Webern.
A key form of music to emerge at the beginning of the 20th century was atonalism (not having any definite key) ...
(1900 - 1945):
Toward the end of the 19th century, Romanticism reached its limits of expression, which is evident in Wagner's operas. As a result, diverse and experimental music forms began to emerge, breaking away from the mainstream of Romanticism. These forms included the impressionism of Debussy and Ravel and the surrealism of Satie. The emphasis on irregular rhythms within Stravinsky's The Rite of Spring caused its first audience, in 1913, to riot. Then followed the experimentation in scales and rhythms of Bartók. But possibly the most significant in terms of lasting influence was the atonal and serial approach of Schoenberg and his followers, Berg and Webern.
A key form of music to emerge at the beginning of the 20th century was atonalism (not having any definite key) ...
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Mar 13, 2006
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Other links at Composers and Arrangers > early 20th century
The Modern Era
(1900 - 1945):
Toward the end of the 19th century, Romanticism reached its limits of expression, which is evident in Wagner's operas. As a result, diverse and experimental music forms began to emerge, breaking away from the mainstream of Romanticism. These forms included the impressionism of Debussy and Ravel and the surrealism of Satie. The emphasis on irregular rhythms within Stravinsky's The Rite of Spring caused its first audience, in 1913, to riot. Then followed the experimentation in scales and rhythms of Bartók. But possibly the most significant in terms of lasting influence was the atonal and serial approach of Schoenberg and his followers, Berg and Webern.
A key form of music to emerge at the beginning of the 20th century was atonalism (not having any definite key) ...
(1900 - 1945):
Toward the end of the 19th century, Romanticism reached its limits of expression, which is evident in Wagner's operas. As a result, diverse and experimental music forms began to emerge, breaking away from the mainstream of Romanticism. These forms included the impressionism of Debussy and Ravel and the surrealism of Satie. The emphasis on irregular rhythms within Stravinsky's The Rite of Spring caused its first audience, in 1913, to riot. Then followed the experimentation in scales and rhythms of Bartók. But possibly the most significant in terms of lasting influence was the atonal and serial approach of Schoenberg and his followers, Berg and Webern.
A key form of music to emerge at the beginning of the 20th century was atonalism (not having any definite key) ...
Category:
List of 20th century classical composers, Wikipedia:
Michael Abels (born 1962)
Muhal Richard Abrams (born 1930)
Juan Manuel Abras (born 1975)
John Coolidge Adams (born 1947)
John Luther Adams (born 1953)
Richard Addinsell (1904 - 1977)
Ahn Eak-tae (1906 - 1965)
Franco Alfano (1875 - 1954)
Hugo Alfvén (1872 - 1960)
Maryanne Amacher (born 1943)
Charles Amirkhanian (born 1945)
Beth Anderson (born 1950)
Hendrik Andriessen (1892 - 1981)
Jurriaan Andriessen (1925 - 1996)
Louis Andriessen (born 1939)
George Antheil (1900 - 1959)
Denis Apivor (1916 - 2004)
Edward Applebaum (born 1937)
Georgi Arnaoudov (born 1957) ...
Michael Abels (born 1962)
Muhal Richard Abrams (born 1930)
Juan Manuel Abras (born 1975)
John Coolidge Adams (born 1947)
John Luther Adams (born 1953)
Richard Addinsell (1904 - 1977)
Ahn Eak-tae (1906 - 1965)
Franco Alfano (1875 - 1954)
Hugo Alfvén (1872 - 1960)
Maryanne Amacher (born 1943)
Charles Amirkhanian (born 1945)
Beth Anderson (born 1950)
Hendrik Andriessen (1892 - 1981)
Jurriaan Andriessen (1925 - 1996)
Louis Andriessen (born 1939)
George Antheil (1900 - 1959)
Denis Apivor (1916 - 2004)
Edward Applebaum (born 1937)
Georgi Arnaoudov (born 1957) ...
Category:
James Wierzbicki: Impressionism:
LIKE so many of the sweeping terms that enter into our conversation on the arts, ''impressionism'' began as a pejorative.
Claude Monet, well-represented in the new impressionism show at the St. Louis Art Museum, was probably thinking only positive thoughts when he used a variant of the word in the title of a canvas he produced in 1872. But two years later, when the painting was exhibited in Paris, a reviewer appropriated the word and twisted it into a barb. Monet called his work ''Impression: Sunrise.'' The critic Louis Leroy in turn wrote that Monet was a mere ''impressionist,'' an artist who - possibly shallow-minded, possibly ill-equipped with technique - abandoned the traditional painterly values of detail and clarity for the sake of self-indulgent blurs.
More than a decade later, a comparable reprimand introduced the term into musical language. In this case, it was the secretary of France's Academy of Fine Arts doing the scolding, and it was the young composer Claude Debussy who was getting his knuckles rapped. Debussy had won the academy's prestigious Prix de Rome scholarship in 1884, and in 1887 he was applying for it again, this time with an orchestral piece called ''Printemps.'' The piece made for a nice try, the secretary commented in his formal letter of rejection. But it was hardly a work for which the prize could be awarded. ''Monsieur Debussy does not lapse into banality, nor is he platitudinous,'' the secretary wrote. ''On the contrary, he has a pronounced tendency - too pronounced - toward an exploration of the strange. One has the feeling of musical color exaggerated to the point where it causes the composer to forget the importance of precise construction and form. It is to be strongly hoped that he will guard against this vague impressionism, which is one of the most dangerous enemies of truth in works of art" ...
LIKE so many of the sweeping terms that enter into our conversation on the arts, ''impressionism'' began as a pejorative.
Claude Monet, well-represented in the new impressionism show at the St. Louis Art Museum, was probably thinking only positive thoughts when he used a variant of the word in the title of a canvas he produced in 1872. But two years later, when the painting was exhibited in Paris, a reviewer appropriated the word and twisted it into a barb. Monet called his work ''Impression: Sunrise.'' The critic Louis Leroy in turn wrote that Monet was a mere ''impressionist,'' an artist who - possibly shallow-minded, possibly ill-equipped with technique - abandoned the traditional painterly values of detail and clarity for the sake of self-indulgent blurs.
More than a decade later, a comparable reprimand introduced the term into musical language. In this case, it was the secretary of France's Academy of Fine Arts doing the scolding, and it was the young composer Claude Debussy who was getting his knuckles rapped. Debussy had won the academy's prestigious Prix de Rome scholarship in 1884, and in 1887 he was applying for it again, this time with an orchestral piece called ''Printemps.'' The piece made for a nice try, the secretary commented in his formal letter of rejection. But it was hardly a work for which the prize could be awarded. ''Monsieur Debussy does not lapse into banality, nor is he platitudinous,'' the secretary wrote. ''On the contrary, he has a pronounced tendency - too pronounced - toward an exploration of the strange. One has the feeling of musical color exaggerated to the point where it causes the composer to forget the importance of precise construction and form. It is to be strongly hoped that he will guard against this vague impressionism, which is one of the most dangerous enemies of truth in works of art" ...
Category:
20th Century 1900-present:
Ambivalent Attitudes toward the Musical Past:
Some composers have made the conscious decision to distance themselves from the styles and values of the past.
Claude Debussy said: "The century of the airplane ought to have its own music."
Other composers have just as consciously tried to return to some aspects of the past, especially the elements of the Classical style.
A Widening Gap between "Art" and "Popular" Music
Popular music, especially jazz, country and rock, became the central musical focus of the majority of people in the Western world, and its reach covers the globe.
Composers in the "art" traditions have come to be seen as less relevant in day-to-day life.
Composers whose music has become more and more complex have widened the gap between art and popular music ...
Introduction to recent compositional work from Essentials of Music. Linked to details on historical themes, musical context, style, and living or recently deceased composer biographies.
Ambivalent Attitudes toward the Musical Past:
Some composers have made the conscious decision to distance themselves from the styles and values of the past.
Claude Debussy said: "The century of the airplane ought to have its own music."
Other composers have just as consciously tried to return to some aspects of the past, especially the elements of the Classical style.
A Widening Gap between "Art" and "Popular" Music
Popular music, especially jazz, country and rock, became the central musical focus of the majority of people in the Western world, and its reach covers the globe.
Composers in the "art" traditions have come to be seen as less relevant in day-to-day life.
Composers whose music has become more and more complex have widened the gap between art and popular music ...
Introduction to recent compositional work from Essentials of Music. Linked to details on historical themes, musical context, style, and living or recently deceased composer biographies.
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