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Lecture 10

MUSC 102 Lecture 10.docx

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MUSC 102

MUSC 102 Lecture 10 - Modernism within the United States - Nationalism very big in Europe - Paris- one of the most important cities for Modernist composers (Debussy, etc.) - New little places come th in the States, not one huge city like Europe had - Not really a style in 19 century that composers were leaning towards - European composers wrote as they imaginedAmerican music to be - Inspired byAfrican American spirituals, NativeAmerican songs, etc. - Ironically,American composers weren’t interested in these at all - American composers were forging their own and looking to themselves, rather than taking inspiration from the above - Marching bands were a popular thing to look towards - United States was still too young to have its own sound, European styles developed over centuries - Classical, Jazz, Popular Music- genres that end up becoming known as American genres that spread from there Charles Ives - 1874-1954 - Influence of the family (strong father figure, like Mozart and Beethoven) - Father was a bandmaster, ran bands all over the United States - Also extremely quirky, and possibly demented - Modernist, trying to forge something that is American - See’s it in marching band - Father would sit him at a piano, play a melody, makes him sing it in another key - Twisted, but how he got his son to practice - Father thought only a really good musician could do that - Has two keys playing at the same time, just like Stravinsky - Links to Puccini, has realism - Something you may hear in your environment - Wanted sounds and stories that were part of theAmerican landscape - Almost like he was looking at an idyllic, nostalgic state of the United States that never really existed, but he longed for - Not only do we have his father’s quirkiness (several keys), we’ve got the marching bands, but we’ve also got Ives becoming interested in other musicians’mistakes - Pressured by his father, so started watching musicians and noticed little tiny things that they did wrong, captured and capitalized on them p. 235 “Second Movement from Three Places in New England (Putnam’s Camp, Redding, Conn.)” - Definitely program music, tells a story explicitly - Story of a little boy at a Fourth of July picnic (how American can you get?) - We essentially hear Stravinsky-plus in this piece - Bitonality, but even more: polytonality (many keys at once) - Ives has one marching band in one key, a different band in another - Splits up orchestra into ‘marching bands’ - Tries to capture different marching bands going by in a realism way - Roughly in an ABA’structure - 2:06, dream section, the B section - 3:57, awakening, return to A’section - His textures go from homophonic, progress a lot into polyphony - Little fragments of melodies carefully controlled, even though it seems chaotic - If Ives is the Modernist and shaking things up, pushing the boundaries, unconventional, the more conservative side of things wasAaron Copland - Aaron Copland, called the Dean ofAmerican Music - His music becomes so highly associated with what it means to beAmerican - 1900-1990 - Much more mainstream and conventional - Also drew from marching bands, but wasn’t quite going for the marching band sound - Drew in all kinds of things around him - Copland saw music in a very particular way, writing during 1930s and 1940s - Really felt that people needed a lift, something the average person could listen and respond to - This becomes quite problematic later on, similar to the Russians writing under Stalin for the common people. Ends up being investigated, kind of ridiculous. - “It made no sense to ignore [ordinary listeners] and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms” –Aaron Copland - Worried that the music would suffer? Mozart was writing relatively simple stuff too (compared to Mauler, for example). Not necessarily
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