La Jolla Symphony Essay

La Jolla Symphony Essay
The La Jolla Symphony concert was held on a warm Saturday night, May 5th, and it was definitely a
memorable experience, since it was the first symphony concert that I have ever attended in my life.
The whole atmosphere was very engaging and the music itself was very different in an insightful
way. Over the course of the concert, five pieces were played as Sameer Patel conducted. Each piece
was incredibly unique in their own way and did associate themselves together and also to many of
the concepts we have learned in class. The concert overall was astonishing that I enjoyed every
second of it and will now attend as many more symphonies as I can. All five pieces seemed to
correlate together in some way, however each one also contained original ... Show more content on
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Sound painting is also displayed in many of the works. The entire pieces except Stravinsky's I would
say are undoubtedly romantic works. An additional unifying theme that I detected in all the pieces
was that there lies unconventional beauty and one must carefully listen to recognize its presence.
The symphonies performed were constructed by well–renowned composers such as Arnold
Schoenberg, Olivier Messiaen, Igor Stravinsky and other compelling composers as well. Many of
these composers led overwhelming lives that clearly influenced their works. The symphonies drew
the listeners closer and closer to their rich and bold sounds. For instance, Schoenberg's famous
"emancipation of dissonance" was reflective in his "Five Pieces for Orchestra". He derived the
intriguing concept of dissonance and presented this as it was his first atonal piece. The colors and
sharp sounds were very dynamic. The first four pieces I would say are programmatic and
Stravinsky's pieces are absolute; he made a clear reference to classical music. However it is
important to note how Schoenberg intended his piece to be non–programmatic in order to focus
more on the evolved music he had created. On the other hand his titles
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Richard Wagner Music Analysis
Music is the most universal of all languages. Without words it can break a strong man into tears,
reduce a brave woman to terror, and turn the most high–strung to a state of peace. Unfortunately, the
worth of music in today's society tends to be decided by its perceived popularity, rather than its use
of technique and emotion. This is one of the many reasons Richard Wagner tends to be
underappreciated. Despite his masterful compositions and development of many imperative
techniques, much of his music is listened to by few and appreciated by fewer. However, that does
not diminish any of what he has done for the world of music, and the Romantic Era. Richard
Wagner is the most influential composer of the Romantic Era for his use of leitmotiv, command of
the orchestra, emotional expression in music, and contribution to the romantic notion of nationalism.
The camera zooms in on the protagonist, surrounded by enemies. They're fighting with everything
they have, and despite the odds are succeeding. A few simple notes, and everyone in the movie
theater knows the villain is about to enter the room – the stakes are higher than ever. This is an
example of leitmotif, an important musical tactic that the modern Western world has Wagner to
thank for. Leitmotif is a short theme associated with a specific character or situation. Wagner
developed the technique, and used many of these in his operas (Fuller). This technique has become
very popular in film, musical theater, and

Ostinato Scene Analysis
Shiyao Anna Luo
MUS Z315 Music for Film
Psycho Viewing Assignment
Part I:
Musical texture built from ostinati (short, repeated patterns)
There are several points that ostinato has been used in the film, and starting from (00:10:56), which
is the scene when Marion is packing her luggage. There are strings playing the upper linear line in
high register, and there are also strings playing in the middle register and low register in order to
create those different layers of voicing. The scene followed this one, which starts around (00:13:02)
also use ostinato at the beginning part of this scene. This scene is about when Marion drives her car
on the street, she meets her boss. This time, the dynamics keeps crescendo comparing to the last
scene, ... Show more content on Helpwriting.net ...
As I have discussed a little bit earlier that the instrumentation for this music scores, unlike
traditional orchestra music, it mostly uses strings. Even though there are no brasses and percussions
(usually play the lower register and bass melody) in the film, I think Bernard Herrmann used the
strings in a way that they are the whole orchestra. He used the double basses and cellos to play out
the bottom line of melody and the violins and violas to play the upper melody. He is using the string
ensemble but creates the sounding effect of a whole orchestra. As we discussed during class last
week that most composers back into that time prefer to use more neo–romantic style music;
however, this music score definitely has nothing relate to romantic style. It is dissonant as I said
before, and creates lots of tensions but it does not resolve, and I feel like that is one big thing that
makes it different from classical music, and obviously, it applies many uses of atonality. Even at the
beginning scene (00:06:02) that when Marion spends her lunchtime with Sam, the music at there is
not like typical love theme music. People usually relate strings with love theme; however, I feel like
the strings playing at this scene do not tightly apply to the romance element in the film. Comparing
to the music that happens later, this one is not that dissonant, it is still unresolved at the

Music That Subverts The Standard Form Of Arranging Sounds...
Serialism is style of music that subverts the standard form of arranging sounds produced by musical
instruments and approaches the composition from an almost mathematical standpoint. It can be
described as a compositional strategy in which the composer arranges notes in a particular order
based on the characteristics of a sound such as pitch, duration, amplitude or even timbre, but giving
no preference to each individual characteristic; all aspects of a sound are equal. Once the notes are
arranged the composer uses a pre–determined set of rules to arrange them in to a composition. It
could be argued that it originated as a response to composers in the late 19th and early 20th century
struggling to stretch the limits of their capability ... Show more content on Helpwriting.net ...
This order could be based on properties such as symmetry or pre–determined intervals, or even just
instinctive ideas of the way in which notes could relate to one another. This order of notes is called a
tone row; this tone row was then re–arranged through a set of rules to form variations known as set
forms or row forms. The basic forms of these rules are retrograde and inversion, arranging the notes
in reverse order (for example B–C–G becomes G–C–B) or upside down (for example B–C–G
becomes B–Bb–Eb) respectively. Combining these rules is known as retrograde inversion. These
new arrangements could be transposed to provide a larger range of varying row forms with which to
form a composition. Row forms are represented through a system of numbers and letters. The letter
indicates the form of the tone row, P indicating the original or "prime" form, R indicating the
retrograde form and I indicating inversion, with RI representing retrograde inversion. The number
indicates the pitch class in which the first note of prime and inverted forms of the row is to be
played, or the last note of retrograde and retrograde inverted forms. So for example I2 is an inverted
form of P0 that has been transposed two semi–tones up. Through these rules it is possible to see the
fundamental idea of serialism, composition that moves away from the traditional tonal relationships
of notes, while creating new relationships through pitch, order, numbers and intervals. While

Musical Modernism with Claude Debussy, Igor Stravinsky...
Musical modernism can be seen as the time where music emerges its liberty from Romantic era style
–that started in the late nineteen century to end of the Second World War– and gains new ideas and
freedom. With the political turmoil and chaos that took over the European countries, –that lured
countries into the First World War– composers and artists started to find, create more and new ways
to express themselves. They eagerly began to discover the art of Eastern countries with the hope of
finding new ways of expression. The changes in tonality, irregular rhythms, tone clusters, distressed
and antagonistic melodies, the expressionist, abstract, unusual ideas over powers the music, the
traditional structures recreated or composed with ... Show more content on Helpwriting.net ...
With his first piano lessons, his teachers discovered his unusual talent of 'playing out of the
boundaries.' After his dream, becoming a piano virtuoso sink, he leaned more on to his composing
skills.
At 1889, he attended the Paris International Exposition, where he discovered the wondrous colours
of Asian music that picked up his interest. He was also fascinated by the pieces composed by the
Russian composers Modest Petrovich Mussorgsky, Nikolai Rimsky–Korsakov and Alexander
Borodin, therefore he was lured in to the folk music of Russia soon after.
In later years following his graduation, after composing his 'Suite Bergamasque' for piano, he found
himself in the impressionist art movement with fellow composers –like Maurice Ravel– because of
the link French music had with the paintings of Claude Monet, Edgar Degas, Van Gogh and other
modern, like–minded artists, even though he stated that he never felt connected to the movement
with the words,
"I'm trying to write 'something else' – realities, in a manner of speaking – what imbeciles call
'impressionism', a term employed with the utmost accuracy, especially by art critics who use it as a
label to stick on Turner, the finest creator of mystery in the whole of art!" Claude Debussy
Against his wishes his compositions are often described as

Essay on Twentienth Century Musical Pieces
Music during the twentieth century and beyond all found their basis and roots in music produced
during the areas preceding it. Wozzeck, Pavanne, and Concerto Grosso by Alban Berg, Bill Evans,
and Ellen Taaffe Zwilich prove to be no different. All three pieces draw on the inspirations left by
their predecessors in order to create truly unique and memorable works. Though the pieces are from
the same time period, they sound inherently different. This all stems from the fact that each
composer drew from dissimilar musical eras and put their own type of improvisation or flares on the
work. Berg draws on stylistic elements of the romantic era opera. In his piece entitled "Wozzeck",
Berg incorporates the use of the romantic ideals of the power ... Show more content on
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The work has jazz beginnings and integrates the use improvisation and solos. These twentieth
century musical tactics are what put his piece into this era other than just the time period in which it
was produced. Ogerman utilizes the instrumentation of Bach by using a classical string quartet,
percussion, piano and strings. He also borrows stylistic elements from Chopin, Scriabin, and
Granados. Ogerman does this by using pianistic appreggiated chords, mood paintings to create a
mystical realm, and a melancholy sound. Due to these compositional techniques, I found myself
favoring this piece out of all of the three pieces. I thought that this work sounded the closest to the
musical style that I am more familiar with. It reminded me of music that they play elevators. Its
soothing melody and liberated quality made it for me, the easiest to listen to. Furthermore, Zwilich's
piece entitled "Concert Grosso" was inspired by components of the Baroque era. This can be seen by
the use of the harpsichord, lack of soloist, cadence, and trills throughout the work. Zwilich also
utilizes the strings and woodwinds sections that were stereotypical of the Baroque time period. She
bases her work off of Handel's "Sonata in D for Violin and Continuo." According to the textbook
Music Appreciation Online, Zwilich's piece is "based on the melodic influence of Handel." In these
melodies, she was able to incorporate the

Wagnerian Innovations In Classical Music
Richard Wagner's many musical innovations changed the course of music and compositional theory
and make him one of the most–if not the most–influential composers of all time. Among Wagner's
changes were new ideas on harmony (i.e. the "Tristan" chord) and symphonies of scale. These
changes would set the tone for the atonality and dissonance that would mark Modern classical
music. Indeed, works such as Debussy's Syrinx and Prelude to the Afternoon of a Faun extended
these harmonic ambiguities, which allowed the music to revolve in a circular fashion seemingly
without a destination. This was in sharp contrast to the Classical style, in which dissonance and
musical instability were used to optimize the resolution. Concurrently, composers such as Bruckner
and Mahler heeded Wagner's symphonies of scale, extending melodies to create endlessly building
sequences. Indeed, whereas Classical composer's pieces were contained in volume and length,
Bruckner's and Mahler's modern symphonies reached incredibly loud moments and lasted far longer
than their pre–Wagnerian counterparts.
In Alban Berg's Traumgekrönt and Liebesode, one may observe these Wagnerian innovations at
work: both the atonal approach developed further by Debussy and the Impressionists in the wake of
Wagner and grand–scale composition by Mahler and Bruckner. Berg's songs–like Mahler's–
simultaneously contain characteristics of music's Romantic past and its post–Wagnerian future.
From the opening bars of Traumgekrönt, the atonality of Berg's music, reminiscent of Debussy's
Impressionist music, is clearly heard. Like Debussy, Berg begins with tonal uncertainty as a starting
point to express the dreaminess and anxiety exhibited in the opening lyrics: "That was the day of
white chrysanthemums;/I almost trembled before its glory..." These ambiguous harmonies–neither
consonant nor dissonant–give the music the dreamy, uncertain quality. Additionally, the rhythm is
hard to keep track of because of the freedom in tempo. There are multiple espressivo markings in
the score; thus, the piece does not have a strict tempo the performers must adhere to. This allows
them to take liberties in tempo to best express the mood of the lyrics. This ambiguity of tempo was
found in

Romanticistic Style In Danny Elfman's Green Goblin Theme
The modernist style would have only distracted from the plot line instead of adding to it because of
its emphasis on unresolved dissonance disorienting the average listener. The audience expects
certain aspects of music to occur. They naturally desire to hear certain forms, harmonic rules and
guidelines, or the tonal music their ears are accustomed to hearing. These ideas are still present in
some cases, but with the absence of tonality and a larger focus on dissonance, the audience can have
trouble devoting attention to the film itself. This causes modernist music to be jarring and distracting
from the narrative, but that doesn't mean it's always avoided. In plot lines there are often villains
who need to make the audience feel uncomfortable. Many times in both Hollywood's past and
present composers will pair the modernist style of dissonance and uneasy expression with that of an
antagonist. This proves to be successful in making the viewers feel uneasy (Audissino 2014, 25–35).
Pairing themes with a character became a common practice with motion picture music. This is also a
common characteristic of the Romantic style. A character could have a personal theme to be
performed when entering the scene (Audissino 2014, 25–35). An example of this is Danny Elfman's
2002, Green Goblin Theme, though it's not a modernist style of composing, it is an example of
pairing a theme with the antagonist of Spider–Man. The approach of using musical ideas as a pairing
device to certain

Where Schoenberg Went Wrong ( Or Right ! )
Where Schoenberg Went Wrong (or Right!) Arnold Schoenberg believed that the developing
harmonic language of the late nineteenth century had led to a musical crisis. He felt that tonality had
been stretched to its absolute limits, and that what was to be said within its confines, was already
best done by the great composers before him. Schoenberg believed he existed within a lineage of
composers, and therefore, was the successor to deliver the next big innovation in music. This idea of
pushing music forward is not a novel one though; we have long observed similar acts of musical
righteousness. Simply consider the first chorus in a symphony as in Beethoven's Ninth, or a requiem
text that is not in Latin as in Brahms' Ein deutsches Requiem. Our concern here, however, is not
with the number of times in which the musical world has been overturned. Rather, it is whether or
not Schoenberg is a credible addition to that tradition of innovative composers. Arnold Franz Walter
Schoenberg was born in Vienna on September 13th, 1874. Neither of his parents were particularly
musical. The musicians were his brother, Heinrich Schoenberg, and his cousin, Hans Nachod. It was
Nachod that would go on to premier the role of Waldemar in Schoenberg's Gurre–Lieder in 1913.
Schoenberg was a largely self–taught composer; before the age of nine, he had composed a number
of pieces for two violins which he would play with his teacher. A short time later, he connected with
a classmate who played viola

Analysis Of Les Six
Les Sis
The 1920's were an extraordinary time in Paris. The war had ended. Musicians, artist, writers, poets,
film–makers and choreographers were friends and influenced one another. There was a sense of
optimism and excitement. Composers were finding inspiration in popular sources, circus music and
jazz which was being heard for the first time. Les Six were a group of six young French musicians
during this time; Arthur Honegger, Darius Mihaud, Francis Poulenc, Georges Auric, Louis Durey
and Germaine Tailleferre, the group's only woman. They were brought together by their adverse
reactions to the impressionism of French composers such as Debussy and Ravel. The music critic
Henri Collet coined the group's name in 1920. Inspired by the more abstract and unadorned
compositions of Erik Sate and the writings of Jean Cocteau they sought to write in a style that was
more simple and sophisticated. Their friendship brought them together, however they maintained
their own distinctive styles.
Francis Poulenc
The finest choral composer of Les Six his works are known for their melodic invention and
originality. Because Poulenc's family intended for him to have a career in the family business he was
largely self–taught. His music often juxtaposes humor and irony with the sentimental and
melancholy. After the death of a close friend in the 1930s he rediscovered Catholicism and
composed many religious works. He was particularly fond of woodwinds and planned to write a set
of sonatas

Who Is Arnold Schoenberg's Life Or False Music?
Arash Hajihosseini
European history
Peyman farzinpour
Arnold Schoenberg
Arnold Schoenberg was born on 13th September 1874 in Vienna. He started taking violin lessons at
the age of 8. One year later he started composing music. He also took some counterpoint lessons but
for the most part he was self–thought. He lost his father at the age of 15 so he had to provide for his
family. He left school and got a job at a bank. At that time Vienna's infrastructure was modernizing.
Vienna became an industrial city and cultural life improved. Schoenberg could not afford the
cultural venues because he was poor. He went to concerts and stood behind the fence so he could
hear the music for free. Later he left the bank and started conducting and orchestrating ... Show
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When you play a note you can only play it again once you played all the other 11 notes. This is
called a tone row. For Example, In opus 23 all 12 tone are presented in this order: C#, A, B, G, Ab,
F#, Bb, D, E, Eb, C, F as you can see no note repeats until all the other 11 notes are played. The tone
rows in a way function as scales in tonal music. The first time that he tried using all the notes in the
chromatic scale was in Piano opus 9. In that piece we can still hear a little bit tonality though. It
starts with a melody that outlines a b major triad but accompaniment makes causes the whole thing
to sound ambiguous. Using tone rows is not the only rule in 12 tone music. There are other rules in
this type of music as well. For example, the notes that are in top and bottom voices have to be
shorter in duration. This is a very important rule because it helping keeping every notes importance
the same. Otherwise the outer sound more important than the others because their placement. These
rules aren't rigid. In fact Schoenberg broke them often and he suggest you should break them as well
if necessary. In The Unanswered Question 5 Leonard Bernstein says" There is no such a thing as
atonal. Schoenberg used the same 12 notes that Bach used. He just destroyed the hierarchy.
Schoenberg even denied the possibility of atonality. The 12 tones of the chromatic scale have a tonal
relationship to each other. If true atonality is to be achieved some uniquely different basis for it is
needed. Maybe a different division of the octave." In the 12 tone system you can take one row and
use some of it's notes as melody and others as chords. Some of the phrases in 12–tone music spell
out certain chords but because it is following the tone row principles it sounds ambiguous and
atonal. We see this kind of harmonic implication happening with augmented triads in opus 23. Also
Opus 30 starts with a repeated 4 bar phrases that

Arnold Schonberg Vs Symphony Op. 21 Analysis
Ouiz 3
Tremayne Perryman
Pierrot Lunaire Op. 21, No. 8 "Nacht" by Arnold Schoenberg vs Symphony Op.21 by Anton Webern
Similarities
A first thing to point out is the use of expressionism, with these atonal chromatic note structure, no
sense of a tonal center, but somehow you still hear the emotion in each piece.
One major similarity is the atonality, both fully utilizing different versions of it, Schoenberg uses
pitch class set theory or could be read as using an octatonic scale (at least in my opinion), and Weber
use a 12 note tone row to create an organic symphony.
Both do use an orchestra, obviously in Nacht the orchestra is very small in order to not drown out
the singer. Each uses their respective orchestra to use further enforce the method of each composer
Both use a canon structure at the beginning of the ... Show more content on Helpwriting.net ...
I would say that Webern uses minimalism, a regular symphony takes so long, and repeats previous
material sometimes to nausea (just my opinion), but Webern gives you all that you need and lets you
fill in the gaps mentally. Schoenberg uses a lot of layering, multiple different melodies and rhythms
going on at the same time, this happens after the initial cannon where the different instrumental parts
repeat the same motive, most of the piece revolves around that (0,1,4) set class.
A simple contrast is Schoenberg uses mostly stepwise motion or conjunct with leaps sprinkled
around the piece mostly to service his use of pitch classes and Webern uses medium to large leaps, a
melody of any sort is virtually non–existent, well I guess that depends if you factor in octave
equivalence and don't recognize the leaps, I'm choosing not to factor that in and taking the piece at
face–value on the note

Afroban Explosion Research Paper
Afro–Cuban Explosion Jazz music originated in New Orleans around the beginning of the 20th
century, developing through various increasingly complex styles. These scores are generally marked
by intricate, propulsive rhythms; polyphonic ensemble playing; improvisatory, virtuosic solos;
melodic freedom and a harmonic idiom. These pieces range from simple diatonicism, through
chromaticism, to atonality (Dictionary.com). The foundation of jazz is associated with the Black
experience in the United States, but different cultures have added their own personal experiences
and styles to this art form as well. As a result of jazz spreading around the world, it grew locally,
regionally, and nationally in cultures. Each decade brought a new form of jazz including brass bands
in the twenties, swing bands in the thirties, and smooth cool jazz in the forties. ... Show more
content on Helpwriting.net ...
The group playing at the club was the Cleveland Jazz Orchestra, which was directed by Kenny
Koblitz and Paul Ferguson. The ensemble consisted of trombones, trumpets, a alto saxophone, a
bass, a baritone saxophone, bongos, a bass trombone, a tenor sax, a french horn, a piano, drums, a
cello, and maracas. The concert was presenting music of Afro–Cuban Explosion. Afro–Cuban
Explosion is the earliest form of Latin Jazz, combining the elements of African–american culture
with those of Cuban culture (dictionary.com). The spirit of the music –– a true fusion between
North, South, and Central America –– and an emphasis on infectious rhythms are the keys (Afro–
Cuban Jazz Music Artists). The beginning of Afro–Cuban jazz can be linked back to trumpeter–
arranger, Mario Bauza. Bauza introduced trumpeter, Dizzy Gillespie, to the masterful Cuban
percussionist, Chano Pozo, to create innovative music (Afro–Cuban Jazz Music Artists). Because of
these people, Afro–Cuban jazz caught on as one of the most popular jazz

Comparing Vivaldi's Concerto For Four Violins And...
Project 5
Vivaldi–Concerto for Four Violins and Orchestra in B Minor
Vivaldi's Concerto for Four Violins and Orchestra in B Minor bears some similarities and some
differences to his work "Winter" from The Four Seasons. The most prominent of these similarities
relates to the speed of the movements. The typical concerto from the Baroque period had three
movements. These movements often alternated their tempo: the first was fast, the second slow, and
the third fast again.
In "Winter," Vivaldi utilizes this pattern. If one listens to the first minute or so Vivaldi's second
movement in that work, then listens to the anything beyond the first 30 or so seconds of the first
movement or past the first 45 seconds of the third movement, the contrast is obvious. Vivaldi's
second movement in "Winter" is by far the slowest of the three movements.
This Concerto for Four Violins follows this same pattern. The first thirty seconds, for example, of
the opening movement (0:00–0:30) are replete with up tempo music, as are the opening thirty
seconds of the third and final movement (6:17–6:47 on the YouTube video). By contrast, the
beginning thirty seconds of the second movement (3:50–4:20 on the video) are noticeably slower
than their counterparts in the other movements. This characteristic ... Show more content on
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The dissonance and being difficult to follow the music can be heard throughout this section, but
especially in the third and fourth scenes (13:47–16:29 and 16:52–21:00, respectively). This music
sounds "off" somehow because of its clashing chords and being devoid of a pattern. Indeed,
attempting to tap or hum along to the music in these sections proves impossible. (It should be noted,
however, that the orchestral transitions, specifically the one from 12:43–13:47 do feature some
patterns. These are the main difference between this work and

Debussy's Influence In Classical Music
Classical music in the twentieth century was marked by an avoidance of Common Practice Period
traditions. At the same time, classical music in the twentieth century represented a blending of old
ideas with new practices. These two beliefs tended to clash with one another, but this competition
allowed for a great leap forward in musical evolution. Three artists were responsible for that great
leap forward. Debussy sparked an interest in tonality, texture and timbre which others later
emulated. Stravinsky innovated through his expansion of Russian idioms, and influence in
neoclassicist music. Bartok blended folk tradition with modern musical practices to create an
accessible yet modern sound. Debussy's work as an impressionist composer influenced ... Show
His neoclassical period contains the idioms of his Russian period, as well as newer elements he
picked up during his Russian period. Despite this, he was willing and able to reach backwards for
inspiration. An example of this is his Symphony of Psalms. The piece contains octatonic scales and
blocks of sound in the first movement, a double fugue in the second movement, and a reliance on
Latin versions of Psalms throughout. Anyone emulating a neoclassicist style around this period is
doomed to be compared against

Medieval Music : The Music Of The Medieval Period
This period was the longest period of musical history. Most of the music in the medieval period
were related and dedicated to religion.
Many of the instruments used were ancestors of the modern musical instruments. The lute, the string
instrument, a popular instrument of the medieval time period, eventually evolved into guitars.
Recorders, also from this period, is one of the oldest woodwind and the forefather of the flute and
clarinet.
The early music of this period was monophonic, it only had one line of melody without any
harmony or accompaniment but had Gregorian chant, which came with religious music.
During the 11th century, music appeared with the forefather of harmony: two or more lines of
harmony.
The music was also very monotone and plain
Music were composed by monks and most of the medieval music is anonymous; the names of the
composers were either lost or never written down. However, extremely important composers had
their work credited. Such as Hildegard of Bingen, Guillaume de Machaut, Comtessa de Dia, Peter
Abelard.
Many important composers were also female; the era included a large number of female composers
because they were educated (compared to baroque, classical and romantics period where patriarchy
was at its peak).
While religious music still dominated, secular music became more popular . New instruments were
invented and older instruments, such as the lute, evolved.
The harpsichord (that later became the piano) was invented during this time.

Luigi Russolo
Luigi Russolo, a futurist painter, portrayed his ideology of great enlargement of sounds in music as
an art with noises as a source in The Art of Noise. The Art of Noise was a letter written to a futurist
composer Balilla Pratella where Russolo expressed his belief and intention of creating "Musical
Noises". As people awakened from a period when "life was nothing but silence" and experienced the
acoustic pleasure through a recipe of varying sounds, music was created and brought to our lives.
As a futuristic artist, Russolo saw potential in enriching musical art and enlarging its capability to
produce auditory contenting complexity by considering an infinite variety of timbres of noises as the
domain of the music. He felt deplorable how people couldn't see what the art of noises could bring
to them. As Russolo stated that "music has developed into a search for a more complex polyphony
and a greater variety of instrumental tones and coloring." He believes that noises are infinitely
existent and musical pleasure to people comes not only from pure man–made sounds, but also from
those already exited noises.
One of the problems Russolo saw through history was ... Show more content on Helpwriting.net ...
By Milton Babbitt, they both agree that complexity, which "reduces the redundancy of" music takes
big part to bring people's likes. Like Russolo mentioned about the "predominant rhythm" and
"predominant pitch" and the variety of "timbre of noises" while he explained about the use of noises
in music, Babbitt also talked about the importance of the "five–dimensional musical spaces" which
are "pitch–class, register, dynamic, duration, and timbre." They both concerned about the "death of
music", however, in Russolo's case it was more specifically the delay of progress in music. Music,
for both Russolo and Babbitt, was an art which "new" was always open and possible to be
discovered and which could be put into by man's hand to create auditive

Where Shoenberg Went Wrong Essay
Where Schoenberg Went Wrong (or Right!) Arnold Schoenberg believed that the developing
harmonic language of the late nineteenth century had led to a musical crisis. He felt that tonality had
been stretched to its absolute limits, and that what was to be said within its confines, was already
best done by the great composers before him. Schoenberg believed that he existed within a lineage
of composers, and therefore, was the successor to deliver the next big innovation in music. This idea
of pushing music forward is not a novel one though; we have long observed similar acts of musical
righteousness. Simply consider the first chorus in a symphony as in Beethoven's Ninth, or a requiem
text that is not in Latin as in Brahms' Ein deutsches Requiem. ... Show more content on
Helpwriting.net ...
The traditional compositional forms–sonata, rondo, minuet and trio, etc.– depended upon the
establishment of a key and a modulation to another key to mark important structural events. Music
contemporary with and following Wagner tended to change key far more often. In fact, keys
morphed so quickly that it was hard to say whether a tonic had ever been established. Tonic and
dominant relationships were lost, structural boundaries were blurred, and listeners were losing
themselves in an aural swamp. Schoenberg's solution was to find a means of organization other than
tonality. In his quest, he pursued methods dictated by free atonality, by text (Sprechstimme) and
ultimately by the twelve–tone method. By removing tonality, Schoenberg emphasized the
independence of each musical line by the importance of a set of intervals. It was a radically new
way of creating and perceiving music, but one cannot emphasize enough that this idea–the idea that
the norm is insufficient–is not new with Schoenberg. Beethoven felt that an orchestra alone was
insufficient to deliver the message he envisioned for his Ninth Symphony. Brahms felt that a Latin
requiem text was inferior to what would be a largely German–speaking audience. And Schoenberg
felt that continuing with the commonplace traditions of tonality would suffocate the ideas he wished
to communicate. So we return to our

Arnold Schoenberg 's Drei Klavierstucke
Arnold Schoenberg's Drei Klavierstücke, Opus 11 (Three Piano Pieces) represent his first fully
atonal work, which would become the basis for moving forward in his later atonal and serial works.
Schoenberg believed that music history naturally pushed forward and that tonality could not contain
music forever. He believed atonality was the next step and Schoenberg admitted, "The most decisive
steps forward occurred in the Two Songs, Op. 14, and in the Three Piano Pieces, Op. 11." However,
small traces of tonality and Romanticism remain, as the small thematic units of the work have
shown connections to that of Brahms and Liszt, especially in the opening of the first piece.
Numerous theorists have tried to place these three short pieces into various tonal centers for
analysis, trying to argue that it is not atonal. Attempts have been made to analyze the pieces in E
major and minor, as well as phyrygian mode, with no luck on forming an agreement to place this
work into the world of tonality. The first two pieces of Drei Klavierstücke were composed in
February 1909 in Vienna, while the third came later in August and a revision in 1924. Schoenberg
published the work with the Universal Edition in Vienna in 1910, revised in 1925. A typical
performance lasts roughly 14 minutes. The world premiere of the work was given by Etta Werndorff
in Vienna's Ehrbar–Saal on January 14th, 1910. Schoenberg wrote these pieces in his new outburst
of expressionist music in 1909, along

Progressive Music Research Paper
Appreciating experimental music and progressive music
In order to appreciate these two types of music, one must look at a bit of background of each. To
start, music has distinct elements that audience members should learn to identify and recognize in
music. Essentially, progressive rock draws on many other styles of music such as jazz, classical
music especially from the baroque period as well as a touch of folk. Whereas, experimental music is
often assigned to any music that strays outside of accepted classification or exploration of sounds
that the listener is not yet familiar with. This knowledge and information will help improve the
listeners experience. Learn to appreciate the richness of music and bring more fulfillment to your
life ... Show more content on Helpwriting.net ...
Most of the experimental composers and musicians viewed their instruments as unlimited and were
constantly exploring its possibilities, searching for new and original modes of composition to create
distinct effects or a new "language" that not everyone speaks yet or it is actually just sort of an
attitude of openness and discovery. However, the melody used in the experimental music is not very
readily appreciated because it is not very melodious, uses a lot of unusual character and somehow
the music is being new to us, the relationship are not sufficiently effective. Listeners dislike it,
because we expect something else from our musical habits. Progressive rock is also experimenting
or generating new sounds through the development of recording technology such as mellotron. It
made all sounds available for potential use as musical elements for both types of music. Even
though listeners might find it hard to accept but listening to this kind of music did help us to better
channel our creativity because it against and challenge our natural thinking. Listening to both
experimental music and progressive music with understanding of it can became another way to
invigorate the right–side of our

Difference Between Charles Ives And Aaron Copland
I chose to discuss the difference between the Modern American music of Charles Ives and Aaron
Copland. The first difference that I noticed while listening to both pieces was that in Charles Ives
pieces Variations on America the main instrument was the organ, and it was used frequently
throughout. In Aaron Copland's, Appalachian spring pieces he used violins, flutes, and the trumpets
to have clear tones throughout his piece.
The next difference is the sound. In Charles Ives piece the music was dramatic and sounded like a
mashup of more than one piece. For example, in the middle of variations on America around five
minutes and twenty seconds, it would sound like a carnival or happy upbeat song was playing then
goes into a lower darker sounding

Schoenberg's Music
The Art of Schoenberg Imagine incessant unmelodious screaming accompanied by a tiny orchestra
that seems to be playing out of tune. The sounds emitted by the performers, are, in a word, hideous.
One cannot possibly stand five whole minutes of hearing a half–screaming banshee belch out what
seems to be random notes. This cacophony is exactly what most of the audience at Schoenberg's
Pierrot lunaire heard. Random, nonsensical clamor. In fact, the clamor is what most audiences heard
at any number of performances of Schoenberg's work. Although Schoenberg's musical compositions
are excellent examples of contemporary art music within the music world, the audience thought
differently, meeting the music with outcry and laughter, which ultimately led to Schoenberg's exile
from the world of music. Audiences did not care for the violent and dissonant tones that emitted
from Schoenberg's bizarre music, especially those found in Pierrot lunaire. Firstly, the sprechstimme
throughout the piece, in which the singer uses a speech melody by using the written rhythm for a
spoken tone, ... Show more content on Helpwriting.net ...
From a report on the concert published by Nation in 1912, a third of the audience hissed and booed,
expressing their disapproval, another third sat and laughed at the events unfolding before them. The
last third sat in their seats, confused on how to react to the novel music. Even when Schoenberg
asked for quiet out of respect for Mahler, the hissing audience took the request as an insult, which
started yet another tussle. The riot outbreak at the concert hall ended up in court. A doctor claimed
that the music had elucidated a harmful reaction to the nervous system, causing audience members
to show signs of neurosis. In essence, the audience showed a distasteful reaction, which did not
please

Paul Hindemith Research Paper
Paul Hindemith (born 16 November 1895 in Hanau, Germany, December 28, 1963) was a German
composer of modern music. In his early creative period, he shocked the classical concert audience
with provocative novel sounds (rugged rhythms, gloomy dissonances, inclusion of jazz elements),
which gave him the reputation of a "bailout". During the period of National Socialism, a ban on the
performance of his works, which he finally responded to with emigration, first came to Switzerland,
then to the USA. In the meantime, his composition developed into a neoclassical style, dealing in a
new way with classical forms like symphony, sonata and fugue. At the same time he distanced
himself from the romantic artist's image of the genius inspired by inspiration

Leonard Bernstein's West Side Story
Imagine you are a play fanatic in 1957, clutching your ticket, waiting to enter a magnificent theater,
to see the opening of West Side Story. You loved the choreography Jerome Robbins always created,
and watching his pervious plays, Peter Pan, Fiddler on the Roof, and Gypsy .You could not be more
thrilled to see the musical West Side Story, which he choreographed and directed. Leonard Bernstein
has grown to become one of you favorite composers, and you can barely contain your anticipation to
listen to the music he created for West Side Story. As the musical ends, you begin to think about
how authentic its music is. You wonder if the music of West Side Story is authentic to the Puerto
Rican culture, or just Americanized to satisfy audiences. ... Show more content on Helpwriting.net
...
The plot line for the musical was similar to the storyline of Romeo and Juliet. West Side Story was a
tragic romance about two protagonist lovers from opposing gangs, the Puerto Rican Sharks and the
White American Jets. The protagonists in the musical are Maria, a Shark, and Tony, a Jet; two young
adults who fell in love with one another. The two gangs, let their rivalry and differences constantly
get in the way, whether they are at a dance, on a basketball court, or in a convenient store. At one of
their rumbles, each side ended up murdering the other side's leader. (Tony killed Bernardo, Maria's
brother.) Maria eventually found out and forgave Tony, but asked him to stop future fights from
happening, so they could marry one another. Although information proven false, the Sharks were
alerted that Maria was killed by Chino, also a Shark. Tony eventually found out about the dreadful
news, located Chino, and plead Chino to shoot him. Right as he pulled the trigger, Tony saw Maria,
alive and well. Hysterical, Maria clutched Tony in her arms, and spoke to both sides about their
wrongdoings. The Sharks and Jets banded together, carried Tony's lifeless body offstage, and ended
the violence between the two gangs

A Comparison of Homeric Formalism in The Iliad and The...
Homeric Formalism in The Iliad and The Odyssey
"Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly... no
speech is so filled with anger or scorn that the particles which express logical and grammatical
connections are lacking or out of place." (from "Odysseus' Scar" by Erich Auerbach)
In his immaculately detailed study comparing the narrative styles of Homer to those of the Bible,
Erich Auerbach hits upon one of the most notable intrigues of reading Homer, namely his
unrelenting sense of epic form and rhythm. The stories that unfold in the works of Homer are filled
with passion and fury, but this never effects the meticulous regulation of his narrative. One of the
chief ... Show more content on Helpwriting.net ...
To take the death of Phereklos as an illustration: first, we are told "Meriones in turn killed
Phereklos..."(Bk V. ln. 59). Then we are given a description of his death:
"... Meriones pursued [Phereklos] and overtaking him struck in the right buttock, and the spearhead
drove straight on and passing under the bone went into the bladder. He dropped, screaming, to his
knees, and death was a mist about him." (Book V, lns. 65–68)
Although the deaths of major characters are more elaborate and detailed, the basic structural pattern
remains the same. The death of Patroklos for example is much embellished, but the basic formula––
approach, attack, wound, and finally 'the mist of death'––remains recognizable. The use of what is
essentially a template for the description of death in battle could serve one of two purposes. The fact
that the deaths in The Iliad and the final battle scene of The Odyssey become so many carbon copies
of one another, predictable almost to the point of absurdity, perhaps reflects a poet's judgment of
war. Homer goes to such elaborate lengths to depict the immensity of the enterprise and the sweat
and hardship of battle, that one can't help but sense, hidden within this repeated formulaic
expression of dying, a commentary upon death as the ultimate equalizer. Conversely, the methodical
treatment of death could simply be an indication of Homer's

Breaking The Limitations Of Music
Jordan Stock 1321201
December 15th 2015
Dr. Andrew Mitchell
Music History 2B03
Breaking The Limitations In Music
Music has always been seen as a way of entertainment. Throughout many eras musicians have kept
their ways to their traditions. From instrumentation to the composition itself. Throughout the ages,
music has mostly been a set in stone factor. But since the 20th century things have begun to change.
Musicians are breaking away from the traditions of the past and reaching new areas of music.
Technology is developing to creating new sounds and instruments can change how to be played and
used. That musical styles have been developed and the compositions have altered with devices that
can record and playback music in your own home ... Show more content on Helpwriting.net ...
With his developments, the music world has heard a new sound. One of his major creations in music
is in fact a wire recorder. This machine may not seem like much but it has been able record then
playback music in your own home without the instruments themselves. This has truly become a
great breakthrough instead of needing a musician in the household to keep smaller gatherings
entertained. Now they can be entertained with only themselves. As said by brindle: "(One of the first
electronic music compositions – John Cage's Imaginary Landscape No. 1 (1939) – had oscillator
frequencies recorded on two 78 r.p.m. gramophone records, but normally such a system was too
expensive and inflexible to be practicable.) It took a world war to produce what was almost the right
instrument – the wire recorder – which was later replaced by the tape recorder, so manipulated,
made permanent, or discarded, with incredible ease and at negligible cost. Once the tape recorder
was perfected (about 1950), and its potentialities fully realized, other electronic sound equipment
(either already existing or suitably modified) could be assembled to form the first electronic music
studio" (99, Brindle). This development of the Wire recorder has lead to such great historical
developments. From the wire recorder lead to the tape recorder and soon music was able to be taken
anywhere anyone wished it to be. The development of the wire recorder was originally made by
John Cage

Comparing The Elf King And The Moonspot
Even though the "The Elf King" by Franz Schubert and "The Moonspot" from Moonstruck Pierrot
by Arnold Schoenberg sound extremely different, there are many connections between the pieces.
These two German lieders both successfully foreshadow and enhance their poetic texts with creative
musical devices. From the very beginning of both pieces, listeners can sense the entire direction of
the story line by the way they sound. While the musical devices that the composers use are similar,
the way they use these musical devices are completely different. I would argue that Schubert and
Schoenberg bring the text to life through the accompaniment, through the voice, and through their
harmonic structure in their own unique ways. In "The Elf King" by Schubert, ... Show more content
on Helpwriting.net ...
The singer portrays four characters in this piece. The first and last person heard is the narrator, who
sets up the story. As the father, the singer's voice is strong, deep, and steady. His voice sounds
certain and reassuring as he is trying to calm his panicking son. The boy's voice is loud and frantic,
which makes him sound afraid. The elf king's voice is lyrical, higher pitched, and soft. This makes
him sound seductive as he is trying to entice the boy to his death. Ironically, the elf king's vocal line
is in a major tonality and the accompaniment plays more lyrical triplets instead of the low triplet
pedal during his lines. This makes the elf king sound even more alluring because he seems harmless.
As the elf king is attempting to lure the boy, the father denies that the elf king is even real. First, the
father tells his son the elf king is only a patch of mist. Then, the father assures that his son is only
hearing dry leaves rustling. Lastly, the father negates that the boy sees the elf king's daughters when
he says, "My son, my son, I see it perfectly, the old willows look so gray." The swift changes in the
singer's voice add dramatic and musical effect to the

The Unanswered Question
This work was originally composed in 1906. The original composition was meant for a solo
trumpet, a woodwind quartet, and an offstage string quartet. Ives revised it, later on, to give birth to
a chamber orchestra version. The revised version is scored for four flutes, trumpet, and strings. Ives
is often credited with discovering a couple of elements associated with music as we know it now. In
the Unanswered question, most of these aspects are present. They include spatial music, quartertone
harmony, polyrhythm, free dissonance, atonality, polytonality, and quartertone harmony. The
Unanswered Question is an example of a concept that Ives envisioned– Universal Religion.
Different layers of sound are heard throughout the piece. The meaning of ... Show more content on
Helpwriting.net ...
Beautiful harmonies accompany the tune underneath ever so gently. At 0:26 there is a little bit of
tension but which is short– lived. The left– hand of the piano, or rather the bass line, begins to play
repeated chords. Ives introduces a tune he refers to as the "human faith melody" at this juncture.
This tune is trademark throughout the second sonata since it is also featured in the other movements.
The melody includes quotes from piano sonata no. 29 and Beethoven's fifth symphony too. It lasts
for about twenty seconds until 0:57. At 0:59 Ives plays a distant chime that seemingly reinforces the
idea of a small Beth Alcott playing the piano in the midst of the commotion and sounds of daily life.
There is a short bit of new melodic content before the human faith melody returns at 1:08. This time
round, the melody is louder. It is also arguably more frantic. Although the rhythm is repeated, the
way pitches are used changes conspicuously. It continues to get louder and faster. "In a gradually
excited way" is the actual direction written by Charles Ives in the score. The first climax of the
section is at 1:46. It is characterized by a repeat of Beethoven's Fifth motif. In this section, there
seem to be some random high notes which symbolize an old family piano which may have sticky
keys and tuning issues. This takes us back to the motivation of the composition– The Alcotts. The
music continues frantically, ever

Krzysztof Penderecki Research Paper
Krzysztof Penderecki (1933–)
Penderecki's music has always been full of vitality, supplemented with an intimacy when in regards
to his formation. An NPR producer described his music as being "on the front lines of the battle
between the forces of atonality and lyricism". Although starting out as a avant–garde composer with
progressive concepts, Penderecki later abandoned that trend and looked back at Romanticism and
even Bach for compositional inspiration. However, this does not signify a transformation to the
sweeping lushness of the late Romantics. His music can be stated that it was not for the faint–
hearted, and occasionally, it can be frightening. It was so frightening that Stanley Kubrick felt
Penderecki was the perfect composer to score ... Show more content on Helpwriting.net ...
Thus, this work, like many of his other works, is immensely ardent and somewhat autobiographical,
yet it also is a tribute for all the victims of war. A funny annecdote is associated with its original
score when it was first published. On its trip to the German publisher house, the score went missing,
and Penderecki had to reconstruct it from memory. Later, it was revealed that instead of missing, it
was held in customs. They suspected the score to be a secret code to building an atom bomb, or
some army secrets of the Warsaw Pact. The package was eventually sent to the addressee, after
customs discovered it to be only notes. What was enthralling for Penderecki, is that when he
compared his original to his reconstructed score, they were identical. Segments of this piece has
been implemented into film, namely Stanley Kubrick's 1980 adaptation of The Shining, Wes
Craven's 1991 film The People Under the Stairs, and the 2006 film Children of

Gustav Mahler Research Paper
Alex Worland
Music History Fall 2015
Dr. Lipori
11/13/15
Gustav Mahler Gustav Mahler was born in Kalisce, Bohemia on July 7th 1860 to Bernhard and
Marie Mahler. He was born into a modest home as his family was not of royal descent. After the
Jewish Emancipation allowing Jewish people of Europe the freedom to move, his family moved to
the nearby town of Iglau, halfway between Vienna and Prague. Here he grew up amongst band
concerts and parades, both of which he was deeply connected to. At the age of four, he got an
accordion and his family noted how quickly he could learn to play familiar songs. He began learning
the piano at the age of six and by the time he was ten years old, he gave his first public recital.
Gustav's parents noted this talent and sent him to audition for a place at the Vienna Conservatory in
1875. After being accepted, he spent three years learning theory and composition before he left.
During much of his life, Mahler was considered more a conductor than a composer. He spent much
of his early life making a name for himself in opera conducting. He had a long career starting when
he was twenty years old working a summer at the Bad Hall in Upper Austria. After spending the
next three years working in various second– and third–rate opera companies, a visiting producer saw
one of Mahler's productions and was very impressed. This lead to Mahler's stay in Kassel, Germany
where he conducted opera at the Königliche Schauspiele. He spent three years in Kassel before
moving to Prague. Being in Prague allowed him to spend more time with his family, which ... Show
Mahler's work helped influence the work of the Second Viennese School (Schoenberg, Webern, and
Berg) to move beyond progressive tonality to

Widespread Break Essay
In the 20th–century, romantic was the style in music. Gustav Mahler, Richard Strauss and Jean
Sibelius were pushing the bounds of Post–Romantic Symphonic writing. Claude Debussy lead the
Impressionist movement that was developed in France at the same time. Many composers reacted to
the Post–Romantic and impressionist styles and moved in different directions. Widespread break
was the single most important moment in expounding the course of music throughout the century. It
effected different composers in diverse ways in the first decade of the century. In Vienna, Arnold
Schoenberg developed atonality out of the expressionism that arose in the early 20th–century.
Arnold later developed the twelve–tone technique which was developed further by ... Show more
content on Helpwriting.net ...
Charles Ives, Julian Carrillo, Alois Haba, Ivan Wyshnegradsky,and Mildred Couper were in the
process of extending musical vocabulary by using microtones to explore all available tones.
Microtones are intervals that are smaller than a semitone; the sound of a human voice and unfretted
strings can be produced easily by going in between the "normal notes", but other instruments like
piano or organ have more difficulties because they have no way of producing them at all,aside from
returning and/or major reconstruction. Pierre Schaeffer and other composers started to explore the
application of technology to music in musique concrete. The term electroacoustic music was coined
later to include all configuration of music involving magnetic tape, computers, synthesizers,
multimedia and other electronic devices and techniques. Cage's Cartridge music is an early example.
Spectral music is a electroacoustic music that was further developed uses analyses of sound spectra
to create music. Cage introduced elements of chance in his music in the early nineteen–fifties
onward. Cage invented the term experimental music to describe unpredictable results from produced

African American Music In The 20th Century
The twentieth century was a great time for America, things were changed dramatically and this was
strongly shown through music. America is actually the birthplace too many different types of music
from jazz to rock. During this time period there was the swing, country music all the way to things
such as rhythm and blues, even classical music. The music world was definitely changing as it is
continuing to.
Jazz saw its early development in the African American communities all throughout the South which
was effected majorly by rhythms. Soul music grew up alongside rock and roll which was also
developed out of gospel. Jazz took from American art form 'ragtime' to create its unique sound. In
the early part of the 20th century, there were a multitude

Essay on Arnold Schoenberg's Musical Influence
Arnold Schoenberg's Musical Influence
Arnold Schoenberg was one of the greatest musical influences of the mid 20th Century. He was born
on September 13, 1874, to a Jewish family in Vienna, Austria (Schoenberg 1). Schoenberg was a
young Jewish man during World War I (WWI) living in Berlin. He was directly affected by the
invasion of the Nazis. In 1933, he had to leave Berlin and desert his faith for Lutheranism later on
taking on the faith of Judaism. At the early age of eight, he began violin lessons and almost
immediately started composing music (Schoenberg 1). He was self–taught until the age of 10 when
he began formal training (Schoenberg 1). He earned a living by orchestrating operettas, directing a
cabaret orchestra, and teaching. ... Show more content on Helpwriting.net ...
In 1920, Schoenberg formulated his twelve–tone technique which can be heard in his one–
movement Piano Concerto. One of the warmest and richest harmonies Schoenberg created was The
Chamber Symphony No. 2 (1939) which had late Romanticism harmonies with neo–classic spirit
(Schoenberg 1). Through Schoenberg and his students, the twelve–tone method became a
dominating force in the mid 20th century composition and strongly influenced the course of western
music. Schoenberg made a radical break in music with his un–orthodox pitch combinations and his
unique rhythms. Schoenberg stated: "Whether one calls oneself conservative or revolutionary,
whether one composes in a conventional or progressive manner, whether one tries to imitate old
styles or is destined to express new ideas–one must be convinced of the infallibility of one's own
fantasy and one must believe in one's own inspiration. The desire for a conscious control of the new
means and forms will arise in every artist's mind; and he will wish to follow consciously the laws
and rules that govern the forms he has conceived "as in a dream (Norton 1)."
Schoenberg was not only a musician but also a writer and painter. This variety of talent allowed him
to construct a larger audience. As a musician he only reached those who loved music. With his other
talents he was able to attract art lovers and readers. This allows various vehicles of passing on

Pierrot Lunaire Research Paper
"Pierrot lunaire" Expressionism was a development of early 20th century music that had been
marked by the use of complex, unconventional rhythm, melody, and form. The intention of
expressionism in music was to express the composer's psychological and their emotional life, within
their compositions. Expressionism is known as a modernist movement, and it initially was
originated in Germany at the beginning of the 20th century. Some popular characteristics of
expressionism in music are clashing dissonances, abrupt musical language, episodic, fragmentary
form and structure, and great emotional intensity. Three central figures come to mind when thinking
about expressionism in music, which are Arnold Schoenberg, Anton Webern, and Alban Berg. A
composition that was worked on by all three of the central figures that showcased this movement, is
Pierrot lunaire by Arnold Schoenberg. ... Show more content on Helpwriting.net ...
Schoenberg had moved from the post–romantic German chromatic idiom, into music that had
increased rhythmic and harmonic complexity, counterpoints and also fragmentation of melodic line.
Within the period, Schoenberg liked to focus on the instruments as solos, even with a full orchestra,
which is why he had swift alternations between the instruments. One of Schoenbergs most famous
piece for expressionism, is Pierrot lunaire. This piece was known as a "free atonal" composition,
avoids traditional diatonic harmony. Pierrot lunaire is a melodrama, which according to dictionary is
a literary work in which the plot is typically sensational and is designed to appeal strongly to
emotions, takes precedence over detailed characterization. The characters in a melodrama are
typically stereotyped. In Pierrot lunaire, the melodrama consisted of a poetry spoken with an
instrumental background. The title of the piece actually is described as "three times seven poems by
Albert

How Did The Music Influence Claude Debussy's
Popular music during the 1890's to the 1920's reflected on the attitudes, beliefs, values, and behavior
of the American population. Ranging from sentimental ballads to ragtime, the entire world was soon
overcome with the power and complexity of the revelations happening in music. The interruption of
World War II seemed to be a distraction; however it introduced the true twentieth century culture.
Claude Debussy's, the face of impressionism, career began in the mid–to late 1880s was at its peak
of influence. Although Debussy saw competing composer Richard Wagner's music as too aggressive
and absurd, his style was respected for its impact on the Romantic period. Similarities can be found
between the two, especially with their comparison in a natural type of flow and driven expression.
Debussy's vision of music was comprised of poetic compositions full of strong moods, imagery, and
impressions. Many refer to his music as impressionistic, referring to Claude Monet's style of
painting. Debussy's works such as Prelude to the Afternoon of a Faun (1894) and Three Noctures
(1990) are examples of Debussy's attention and great lengths he did to accomplish his goal of
creating perfect imagery in the listener's mind. ... Show more content on Helpwriting.net ...
Austrian composer Arnold Schoenberg developed atonality out of the expressionism that derived in
the early 20th century; he later developed the twelve–tone technique, which was further perfected by
his students Alban Berg and Anton Webern. Richard Strauss was a beacon of German post–
Romanticism, mostly known for his programmatic symphonic poems and operas. Strauss was
known as the Bach of the Romantic age. He followed in the footsteps of other romantics and
expanded musical expression enormously, such as changing music performed by

Aaron Copland Music Analysis
Aaron Copland is a twentieth century American composer, teacher, and conductor. Schuman (1980),
refers to Copland as the "Dean of American Composers", which he attributes to his stylistic
contributions to American culture including film. His works includes songs, chamber music, ballets,
theater, symphony orchestra, solos, and chorus. Copland's approach to composing included twelve–
tone, a basic exhibition of serialism. Crawford & Hamberlin (2013), describe this style as organizing
twelve pitches of the chromatic scale into a unique pattern. This method expressed a way of
organizing notes freely, without focusing on a key center. To non–musical ears, the atonality heard is
interpreted as strange, exotic, or in some cases esthetically pleasing. Copland's musical influence
includes his time in Paris during the 1920's with Stravinsky, a Russian Nationalist. Stravinsky's style
was inclusive of traditional Russian folk music, evident in his ballet Petrushka (Navarro 2011).
Copland composed Outdoor Overture in 1938, as a request from Alexander Richter, Director of
Music at the High School of Music and Arts in New York City. Pease (2015), attributes the
inspiration behind this composition from Richter's campaign: American Music for American Youth.
The score (APPENDIX A), shares program notes, along with an extended synopsis of the piece. The
basis for Outdoor Overture, is a theme expressed initially by the upper woodwinds and strings
(APPENDIX B). The idea is introduced

Modern Composers : John Cage
Modern Composers: John Cage Music is a very peculiar term. Everyone knows what it is, yet there
are different interpretations and definitions of what it means to them as seen from the varying styles
of composers over time. In Beethoven's case, music to him was an escape from reality and his
greatest ally in cooperating with deafness. However, there are other composers who sought to think
otherwise. John Cage is an exemplary modern composer who believed that music doesn't need to
make sense. He simply loved music for the pleasure of hearing sounds just as what they are.
Personally, I believe that music is not something that is optional or something that can be chosen. It
cannot be defined by what the listener wills it to be. Music is a ... Show more content on
Helpwriting.net ...
John Cage is not an outlier to this idea, yet his philosophy of music and outlook on the difference of
music and sounds are very different than most composers today. For starters, "John Milton Cage Jr.
was born in Los Angeles on September 5, 1912" (Nicholls 5). This fact may be insignificant at a
face value, but it means that Cage grew up during World War I and World War II, and shortly right
after the Romantic Period. He was blessed with talents of both music and academics, and saw his
first symphony concert at the age of five which sparked his curiosity and awe for music (Nicholls 9).
After graduating Los Angeles High School decorated as a valedictorian, Cage went on to pursue the
further education in Pomona College in Claremont, California, but dropped out shortly after losing
his interests (Nicholls 11). He then followed his curiosity in Europe, learning of all sorts of
instruments and his passion towards composing was born (Nicholls 12). From childhood to
adulthood, it is clear that John Cage had a late start to his composing career compared to composers
such as Chopin, who was already a published composer by the age of eight (Michalowski and
Samson 1). Through his later years, Cage developed an interest and idolized Arnold Schoenberg, the
Austrian composer known for his innovations in atonality (Pritchett 1). Atonality refers to a style of
music in which the piece

The Tyranny Of Tonality Analysis
In the words of Jewish Austrian composer and painter Arnold Schoenberg; or Schönberg, harmony
was freed from "the tyranny of tonality". Schoenberg's term is interesting in its suggestion that the
tonal system exerts an overpowering pressure to conform. The carefully ordered hierarchal keys;
with its singularity, central focus on each movement or work, and tonal centres that made up the
tonality of "centuries–old harmonic basis of music" became of less importance and "had outlived its
usefulness" as atonality; which is "a system without key" that is "deliberately avoided" gained
popularity. This music utilizes several chromatic notes with the intention of hearing no tonal centers.
Later commentators spoke similarly of music being emancipated

Isabella Berg Thesis Statement
Kimberlyn Snoddy
Dr. Holly Powe
MUS 101–WA1
20 June 2016
Alban Berg Not a musical prodigy from birth, but a gifted child, Alban Berg was an innovative
musician bringing forth ideas that would be later seen in music after his death. Berg had somewhat
of a troubled childhood, but that did not stop him from becoming a successful musician. He was also
apart of the Second Viennese school. Alban Berg was a composer whose music broke tradition and
is remembered because of it.
Born in Vienna, Alban Berg was born into a typical middle class Viennese home. He was not an only
child and had three other siblings. During his teenage years, Berg's father passed away. Afterwards,
the family had a difficult time. Berg was not the brightest student in school. ... Show more content
on Helpwriting.net ...
"Wozzeck−perhaps the most frequently performed theatrical work in the atonal idom–represents
Berg's first attempt to deal within the framework of opera" ("Alban Berg" 1). He gained "recognition
as a composer of international standing but also a degree of financial stability" (Jarman 319). A
well–known work for the violin was the Kammerkonzert. This song "demonstrates Berg's love for
intricate formal designs and his interest in using apparently abstract, mathematical schemes as
structural determinants" (Jarman 319). The Lyrische Suite for the string quartet was also one of
Berg's compositions. It "is the most completely documented demonstration of the extent to which
such extra–musical considerations act as compositional determinants" (Jarman 319). Jarman says
that Kammerkonzert and the Lyrische Suite are songs that "mark Berg's gradual adoption of the 12–
note sytem" (319). Another famous opera work is Lulu. "On one level Lulu is a number opera
consisting–...–of a sequence of arias, ensembles, cavatinaas, ballades and other forms traditionally
associated with vocal music, all of them clearly identified by Berg in the score." (Jarman 321).
Violin Concerto was " a work of highly personal, emotional content achieved through the use of 12–
tone and other resources–symbolic as well as musical" ("Alban Berg"

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