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Area of Study 2 Changing directions in Western Classical music from 1900

Area of Study 2 Changing directions in Western Classical music from 1900. Experimental Music. Basics. Around the same time as minimalism (1960’s – 1970’s) Experimental music started.

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Area of Study 2 Changing directions in Western Classical music from 1900

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  1. Area of Study 2Changing directions in Western Classical music from 1900 Experimental Music

  2. Basics • Around the same time as minimalism (1960’s – 1970’s) Experimental music started. • Composers set out to make music that rewrote or totally ignored the old rules about what is music and what is not music. • Aleatoric music is created using chance. • A composer will decide on some initial ideas with approximate pitch, and maybe rhythm, a chord and duration but the decisions about how the piece should be played are left up to the performer. They could decide on the pitch, dynamics, pitch, tempo, phrasing etc. • Some pieces ask the performer to throw a dice to decide on repeats or flip a coin to decide in what order to play the different sections in. • No ‘aleatoric’ music will ever sound the same and there are unpredictable results.

  3. Graphic Scores * Aleatoric music can be written out on a graphic score. A graphic score uses symbols, shapes and pictures to suggest what to play. * Pitch is along the vertical axis and time along the horizontal axis. * The composer gives a key explaining what the performers should play for each picture, shape or symbol but they’re just a rough guide.

  4. And more weird… • Voices and instruments were used to make new sounds… • Voices can hum, whisper, cough, scream, whistle, rap, sing in different languages. • Pianos can have the wood hit, the strings inside be plucked, string players using the other side of their box, wind instruments using their mouthpieces only. • Household objects and anything else can be used in this type of music. * Think of ways your musical instrument can be used in an unusual or experimental way.

  5. Performing • Experimental music was also performed in different ways using ideas from the theatre and dance. • Some performances had performers move, act, mime, wear costumes, and interact with the audience.

  6. Composers • Stockhausen • John Cage • Cornelius Cardew • Gavin Bryars • Luciano Berio • Mike Westbrook

  7. ELECTRONIC MUSIC AOS 2

  8. Using electricity to make sounds offered composers a number of new possibilities.

  9. The invention of the tape recorder in the late 1940’s opened up great opportunities. They could play the music at different speeds or play it backwards. • Musique concrete used everyday sounds but edited and transformed them into new timbres. Stokhausen’s Kontakte used tape, piano and percussion. • Varese’s Poeme Electronique (1958) used a three track tape including sounds for bells, drums, organ and electric voices.

  10. SYNTHESIZERS • allowed composers to create new sounds from a keyboard.

  11. SYNTHESIZERS • Analogue synths from the 70’s and 80’s had knobs and sliders to effect the sounds. • Digital synths from the 80’s were much more powerful, had more possibilities and stored and altered sound digitally. • Software synths from the 90’s worked as a computer programme with everything being on screen.

  12. SEQUENCERS • are a method of recording, editing, storing and replaying music stored digitally as MIDI (Musical Instrument Digital Interface)

  13. SEQUENCES • Many tracks can be played back simultaneously but each tracks has its own set of instructions so can be changed at will. • Sequencers display music as notation or in boxes. • Modern sequencers can record audio (voices and acoustic instruments) as well as digitally using keyboards etc.

  14. MULTITRACKING • allows a separate recording of each part. This allows for mixing of the parts and rerecording as needed.

  15. SAMPLING. • A sampler uses prerecorded or ambient (natural) sounds, saves them in digital form and then alters the sounds using effects like attack, decay and release. • Samplers often take existing music and reuse it in a new form. • They work in 2 phases firstly a transient period when the initial sound attack happens and then a sine wave when the characteristics of the unique sound are produced. A sample can be looped on a keyboard by simply holding down the key.

  16. Homework • Write about two experimental performances and describe in detail in what ways they are ‘experimental’.

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