Music Since 1945
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Music Since 1945. Intro Part II. Characteristics of post-1945 music. Part I Increased used of 12-tone system Extension of serialism Chance music Minimalist music Frequent use of quotation Part II Return to tonality by some composers Electronic music Use of “noise” Mixed media
Music Since 1945
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Presentation Transcript
Music Since 1945 Intro Part II
Characteristics of post-1945 music • Part I • Increased used of 12-tone system • Extension of serialism • Chance music • Minimalist music • Frequent use of quotation • Part II • Return to tonality by some composers • Electronic music • Use of “noise” • Mixed media • New concepts of rhythm and form
Return to tonality • Composers trained in twelve-tone techniques found tonality to be a fascinating “new” option • Some works are tonal, while others are atonal with chord progressions that give a fleeting sense of tonality • Could also be looked at as a reaction against serialism
Electronic music • As varied as non-electronic music • Synthesizers, tape, and computers allowed composers to manipulate sound directly • Sometimes combined with human performers in a number of ways • Human performer accompanied by recording • Piece is recording of a person playing • Electronic instruments and sampling of instruments becomes common
Increased use of “noise” • Composers begin to use new sounds in composing • Sounds can be created using extended techniques • Flute player clicking keys • Piano player reaching in a plucking piano • New notation developed to use these new sounds • Composers used microtones in new music, which are intervals smaller than a half step • Direction sound is projected becomes important
Mixed media • Music is presented with visual counterparts • Slide projects, light shows, gestures, and theatrical action • Composers ask performers to double as actors • Intended to break down the traditional concert and increase communication between the composer and audience
New Rhythm and Forms • Increased use of unusual and mixed meters • Some composers abandon use of meter and rhythm all together, preferring absolute units such as second • Form is no longer absolute, and composers allow the piece develop without holding to a rigid structure