Modern
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1900 - |
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Composers: |
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Debussy |
1862
- 1918 |
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| Stravinsky | died in 1971 | ||||
| Schoenberg | died in 1951 | ||||
| Berg | |||||
| Bartok | died in 1945 | ||||
| Copland | |||||
| Modern Characteristics | |||||
| Timber | Noiselike
and percussive sounds often used Instruments playing in the very top and bottom of their ranges Piano is used as a percussive instrument Sound is transparent, individual tone colors heard clearly Music written for unusual combinations of instruments |
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| Harmony | Abandons
the traditional distinction between consonance and dissonance Chords built on the fourth Use of two or more keys at the same time, polytonality Atonality, the absence of a key |
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| Movements: | |||||
| Impressionism | a
movement in music very much like that in art. represented
by Debussy in which the outlines are blurry, soft tones,
as in the pastel shades of art. no double fortes.
Harmonies
are vague and the tonality is often cloudy. |
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| Expressionism | music
in very emotional and complex, taking the emotionalism
of Romanticism to its uhimate conclusion into nightmares,
hysteria, and even insanity |
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| Serialism | a
twelve tone system, developed by Schoenberg, with the
twelve tones of the chromatic scale solely in relation
to one another with no central pitch as a point of reference.
For each piece he composed he would develop a twelve
tone series. The next piece would have a different senes. |
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| Musical Terms: |
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| Tonality | the
feeling of centrality, focus or homing toward a particular
pitch that we get in simple tunes that are in a specific
key such a C Major. |
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| Atonality | music
in which no tonal center can be detected, all the tones
are equal |
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| Consonance | consonant
chords sound stable and at rest |
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| Dissonance | Sound tense and need to resolve to consonnant ones | ||||