1 Contemporary Art Music AK 2100 Nov. 16, 2004 The New Pluralism No universal musical language John Cage Pauline Oliveros, Time Perspectives, c 1959 1960s: against the establishment Increasing experimentation and anarchy Beyond conventions of musical performance Image: John Cage «Variations V», 1965 Listening: Imaginary Landscape No. 1, 1939.
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Contemporary Art Music
AK 2100Nov. 16, 2004
The New PluralismNo universal musicallanguage
John Cage
Pauline Oliveros,
Time Perspectives, c 1959
1960s: against theestablishment
Increasingexperimentation andanarchy
Beyond conventions ofmusical performance
Image: John Cage «VariationsV», 1965
Listening: Imaginary LandscapeNo. 1, 1939.
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The New Pluralism Quotation and collage
Stockhausen
Peter Maxwell Davies
Jazz, Rock and PopularInfluences
Ornette Coleman
Frank Zappa
David Byrne
Glen Branca
John Zorn
Laurie Anderson
Minimalism
Influence of AsianMusic
Pursuit of more direct,simpler musicalstructures
Understatement
Contemplation
Unfolding over greaterlengths of time
Starting from scratchFrank Stella, Hyena Stomp, 1962,oil on canvas, 195.6 x 195.6 cm
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Minimalism
Key figures: La MonteYoung, Terry Riley,Steve Reich and PhilipGlass
Riley: use of tape loops
In C (1964)
Reich: also used tapeloops. Phase music
Come Out, 1966
Music for 18 Musicians
Ellsworth Kelly. Study for White Plaque:Bridge Arch and Reflection. 1951
Minimalism
Philip Glass
Expanded melodic units
Influence of IndianMusic
Einstein on the Beach
Satyagraha, Akhnaten,
Soundtracks:Koyaanisqatsi &Powaqqatsi
Donald JuddUntitled, 1967Stainless steel and PlexiglasTen units, each 9 1/8 x 40 x 31 inches (23.2 x101.6 x 78.7 cm)
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Minimalism
Glass has described thekind of response requiredof listeners to fullyappreciate his music as“one in which neithermemory nor anticipationhas a place in sustainingthe musical experience. Itis hoped that one wouldthen be able to perceivethe music as ‘presence,’freed of dramaticstructure, a pure mediumof sound.”
Donald JuddUntitled, 1967Stainless steel and PlexiglasTen units, each 9 1/8 x 40 x 31 inches (23.2 x101.6 x 78.7 cm)
Rediscovery of tonality
Return to traditional tonalityin the 1960s
Use of earlier compositionaltechniques
Arvo Part Stabat Mater Te Deum Fratres
Henryk-Mikolaj Górecki Symphony of SorrowfulSongs, Op. 36 Three Pieces in the Old StyleArvo Part
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Electronic Music
New instruments, new soundsThaddeus Cahill’sTelharmonium (1906) andLeonard Theremin’s theremin(1920)
On the fringes for most of20th century
Storage a problem
Electronic Music
Musique Concrete
Real inception of electronicmusic came after WWII.
French National Radio andPierre Schaeffer
Musique Concrete:manipulation of sounds foundin “real life”
Schaeffer worked withcomposer Pierre Henry:Symphony for Man Alone(1950). First extended workof musique concrete
Pierre Schaeffer: Etude AuxChemins De Fer (1948)
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Electronic Music
Musique Concrete
First Studio: Cologne,1952
Allowed for creation ofsounds from the ground up
Karl Heinz Stockhausen
Gesang der Junglinge1956: combined real andsynthesized sounds
Stockhausen’s Studio, c 1959
Electronic Music
Stockhausen
Helicopter String Quartet(1992/93)
Score for Helicopter String Quartet
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Synthesizers
Electronic music wellestablished by 1960
Commercial significance,mainly sound effects
Growth of research
Increase in accessibility:wider audiences
First synth: RCA Mark II,1955
Provided increased controlover process
Synthesizers
Milton Babbit: composer
Robert Moog & DonaldBuchla: created firstcommercially available synths
Morton Subotnick: firstcomposition commissioned byrecord company (Nonsuch):Silver Apples on the Moon,1967
Walter (later Wendy) Carlos:Switched on Bach - madesynthesizers a householdworld
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Computer Music
Composers can create theirown digital instruments ratherthan having to rely on pre-existing hardware
More complex compositionalrelationships possible
Some early pioneers: J.K.Randall, Hubert Howe andJames Tenny
IRCAM 1976, Paris. Largeand active researchorganization devoted to thescientific study of musicalphenomena. Pierre Boulez