Musical Movements and Composers: Nationalism, Neo-Classicism, and American Popular Music -, Study notes of Music

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Music between the World Wars 1918-1942 Many European musicians fled to Paris,England, America during, because of orafter WW I, Large orchestras gave way to smaller ensembles for economic reasons. New experimental movements in the visual arts: Abstractionism —non-representational geometric art Expressionism —expression of your conscious feelings Surrealism —expression of yoursubconscious feelings Dadaism —deliberately grotesque & nonsensical. Specifically musical movements: Nationalism —collection & study of folk music Moravian music: Leos Janácek Magyar & other Hungarian music: Zoltán Kodály & Béla Bartók English music: Ralph Vaughan Williams American music: Aaron Copland- Latin American music: Copland & others Neo-Classicism —a deliberate synthesis oftraditional & new Serialism —12-tone music. 20th century technical terms Post-Romantic chromaticism & Impressionism There is a tonal center, but often obscured by extreme chromaticism & dissonances Multi-tonality Bitonality : 2 tonal centers simultaneously Polytonality : 2 or more tonal centers simultaneously Pantonality : all tonal centers simultaneously. Atonality No tonal center Harmony can no longer be functional Not the same as 12-tone or serialism. 12-tone (“dodecaphonic) “12 tones related only to one another” “Melody” is an invented sequence or “row”using all 12 tones Not necessarily atonal or pantonal; it depends on the construction of the rowSerialism “The emancipation of the dissonance” Invented by Arnold Schönberg Put into use in the 1920s All 12 tones must be used before any are repeated. -The “original” form of the tone row contains all 12 tones without repetition The tone row may be used retrograde(backwards) - The tone row may be used inverted (upside down) - The tone row may be used in retrograde inversion (upside down & backwards). -The tone row may be transposed to begin on any step of the chromatic scale Retrogrades & inversions lend themselves to Palindromes. - Any notes may be displaced by one or more octaves, - Notes may be immediately repeated (counts as one use of the pitch). -Notes of the row may be used consecutively (creating a melody or theme). - Notes of the row may be used simultaneously (creating a harmonic interval or chord) - Notes of the row may be used in counterpoint (different forms of the row simultaneously). -Tone color & economy of instrumentation sometimes important, depending on the composer Favored instruments with very wide ranges– Violin, viola, cello, piano, clarinet, horn. Major serial composers of the “2nd Viennese School” Neo-Classicism - Conservative reaction against excesses of late Romanticism Tonality & tonal centers, but in new ways.- Absolute music, not program music, Emphasis on counterpoint, Uses 18th century forms, Uses thematic development. New knowledge & appreciation for music of earlier times, Unsuitability of other 20th century techniques for church music, Also a reaction against serialism, Serialism based on a philosophy, Neo-Classicism based on acoustics. Major Neo-Classical Composers:- Serge Prokofiev-Russian, Established the idea, didn’t continue with it Igor Stravinsky- Russian, Used all 20th century techniques, but in uniquely personal ways No 2 works were the same. Paul Hindemith:- German, Established the theoretical basis, The French Six ( Les Six ), Holst, Vaughan Williams, Britten in England. American Popular Music just before WWI Development in three areas, sometimes separate, sometimes coming together Popular music—the new “music of the people” to some extent displacing the folksong of individual cultures Jazz—a new American art form Musical Theater—a synthesis of European & uniquely American forms. Popular Music Ragtime became a craze in the 1910s, replacing the sentimental ballad as people’s favorite music, Copyright law revision of 1909 entitled composers and publishers to performance royalties and extended maximum period of coverage from 28 years to 56: made songwriting Profitable, “Tin Pan Alley” in NYC a publishing center, Outside the mainstream, both Black & White gospel music developing. Jazz- The “Blues” inherited from Black culture “Ragtime,” a written piano style, became basis for an improvised jazz style, Funeral bands in New Orleans established small-band “Dixieland” jazz, Established an early association with entertainment in taverns & brothels; therefore not “nice” As late as after WWII schools couldn’t have “jazz” bands, so the silly term “stage band” was invented. Musical Theater “Book shows” produced in NYC (George M. Cohan) American operettas written by European trained composers like Victor Herbert Vaudeville & melodrama especially popularin the “sticks” Burlesque became “Revues,” “Follies,” “Blackouts” (Florenz Ziegfield, Billy Rose). World War I (1914-1918) Some European composers aware of developments in America, tried to imitate them, European public fell in love with this new American music, European classical composers began using jazz assource material, but they were not jazzmusicians, American musical shows & songwriters very popular in Europe. Between the wars (1918-1941): Popular Music ASCAP founded by Victor Herbert, Irving Berlin & others to protect their rights & collect performance royalties, The “golden age” of Tin Pan Alley, Radio new, very important in plugging new songs, Juke Boxes new, became very important to music industry, Popular, musical theater, jazz began to merge and became almost one. Jazz-Small band Dixieland grew into Big Bands, which were popular music in the 30s & 40s Associated with Speakeasies during Prohibition, later with high class dance halls as well, Achieved respectability in concert halls– Paul Whiteman, Benny Goodman, “Symphonic Jazz” started by Duke Ellington, later Stan Kenton. Many Black musicians moved to Canada or France because of racial prejudice in America During WWII big band jazz was American Popular Music: Musicians dissatisfied with Big Band “sweet” jazz started the “Be- Bop” movement in the 1940s. Revues, combining elements of Burlesque & Vaudeville– The Ziegfield Follies– Billy Rose’s Diamond Horseshoe Musical Comedy evolved – Boy-meets-girl plots with interchangeable songs– For New Yorkers, by New Yorkers, about New Yorkers – Standard in 20s-30s, continued into 50s-60s. Musical Theater: Music of Broadway became America’spopular music & was exported to Europe – Rodgers & Hart, Cole Porter, Irving Berlin, George & Ira Gershwin Movie musicals developed into a new art form– Al Jolson, Fred Astaire, Bing Crosby, GeneKelly. Igor Stravinsky (1882-1971)_ Born in Russia, lived there until 1910– Paris, 1910- 1914– Switzerland during WWI– Paris 1920-1939– U.S. 1939, naturalized 1945_ Craftsman, music very individualistic_ Versatile, familiar with all 20th century techniques, plicked from them, used them in his own ways _ Important writings about music & the process of composition Musical characteristics:_ Rhythm extremely important– Ostinato patterns & syncopations– Based on multiples of a minimum value_ Never abandoned key tonality– Did write some atonal & some 12-tone– Modality, bitonality, polytonality_ Master of orchestration– Studied with Rimsky-Korsakov. Major works_ Ballets made his reputation_ Written for Serge Diaghilev and the Ballet Russe in Paris _ 3 major works:– L’oiseau de feu (“The Firebird”), 1910 – Petrushka (1911)– Le sacre du printemps (“The Rite of Spring”),1913. Other stage works– L’histoire du soldat (“The Soldier’s Story”),1918—on a Russian fable– The Rake’s Progress (1949?)—morality opera_ Choral, choral-orchestral works– Les noces (“The Wedding”), 1917 stylized,Russian peasant wedding– Symphony of Psalms (1930)—Boston Symphony 50th Anniversary. Octet for 8 winds, 1928_ In memoriam Dylan Thomas, 1954» “Do not go gentle …”_ Elegy for J. F. K., 1964. Nadia Boulanger (1887-1979) Excellent composer (like Lili)_ Renowned teacher– American Conservatory in France– Taught musicianship, not just composition_ “The most influential woman in the history of music pedagogy.”_ Taught Aaron Copland, Virgil Thomson, Walter Piston, Roy Harris, Elliott Carter, Philip Glass, Jon Polifrone. Art Music in the Western Hemisphere between the Wars _ 1st generation of native-born composers equal in stature to the Europeans – Many finished education in Europe, many with Boulanger_ Europeans emigrated to America – Rachmaninov, Prokofiev, Schönberg, Bartók, Stravinsky, Milhaud, Hindemith. Aaron Copland (1900-1990) _ American, nationalist in wanting to write music that was clearly American– Folk songs (“Simple Gifts”) Ragtime, blues, jazz elements_ Promoted concerts of new American music _ Important writings – What to Listen for in Music , 1939– Our New Music , 1941– The New Music , 1900-1968, 1968– Music and Imagination , 1952. Musical characteristics_Mostly tonal with clear tonal centers– Sometimes 2 aspects at once» Major & minor» Tonic & dominant – Often simple chords with unusual spacings- Intricate rhythms at times. Important music_ Ballets made his reputation (like Stravinsky)_ Billy the Kid (1938) for Agnes de Mille_ Rodeo (1942) for Agnes de Mille_ Appalachian Spring (1944) for Martha Graham–1945 Pulitzer Prize– Original for 13-piece chamber orchestra– Orchestral Suite expanded for full orchestra. Latin American-influenced music: El Salón Mexico (1936) for orchestra» Mexican folk material– Dansón cubana (1942)– Latin American Sketches (1972)_ Film scores– Of Mice and Men (1939)– Our Town (1940)– The Red Pony (1948). Orchestral music– Lincoln Portrait (1942) for André Kostelanetz,Text by Carl Sandberg– Fanfare for the Common Man (1942) forCincinnati Symphony– Clarinet Concerto (1948) for Benny Goodman. George Gershwin (1898-1937)_ A crossover from popular to art music_ Tin Pan Alley popular songwriter (with his brother Ira)_ Musical comedy writer_ Of Thee I Sing (1931) 1st musical to win Pulitzer Prize_ Use of jazz elements are valid because he knew and played jazz_ Wanted to compose “serious” music as well. Important serious works_ Rhapsody in Blue (1924) for piano– 1st performed by Paul Whiteman’s jazz band– Orchestrated by Ferde Grofé_ Concerto in F (1925) for piano and orchestra– For the New York Philharmonic_ An American in Paris (1928)– For the New York Philharmonic– Later a movie with Gene Kelly. Porgy and Bess (1935)– An operaticmusical or a folk opera– Folk-like, but no folk music. Other American ArtMusicComposers :- Ruth Crawford Seeger (1901-1953)_ Virgil Thompson (1896-1989)_ Roy Harris (1898-1979) William Grant Still (1895-1978)– Works reflected African-American heritage_ Roger Sessions (b1896)Walter Piston (1894-1976) Howard Hanson (1896-1981). Samuel Barber (1910-1981)_ Gian-Carlo Menotti (b1911)– Amahl and the Night Visitors (1954). Latin Americans_ Heitor Villa-Lobos (1887-1959)– Brazilian– Guitarist, not a pianist_ Alberto Ginastera (1916-1983)– Argentinian_ Carlos Chávez (1899-1978)– Mexican, nationalistic– Native Indian elements, folk instruments. 20th century music technology :_ Recording technology_ Reproducing technology_ Broadcasting technology_ Electronic amplification technology_ Electronic tone production. The Development of Electronic Musical Instruments Electronic amplification of acoustic sounds_ c1924: microphones, amplifiers, speakers_ Microphones built into acoustic instruments_ Magnetic pickups for instruments with metal strings_ Self-contained instrument amplifiers_ New instruments with acoustic sound sources but only electronic amplification– Solid- body guitar & bass guitar– Wurlitzer & Rhodes pianos with tuning forks. The first electronic instruments- 1920s oscillator tone production- 1934 the Hammond Organ- 1950s the first true synthesizers- 1960s the first portable synthesizers- Mid-1970s: polyphonic synthesizers Early 1980s: digital synthesizers. Electronic

tone production since the 1970s, Polyphonic synthesizers could play more than one note at a time- 1966: first sequencers; mass marketed in the1980s- MIDI standard- Samplers – 1960s: used electronic organ technology– 1970s: tape- based– Late 1980s: computer-based. Sound Recording Technology Acoustical Recording technology, Used megaphone to concentrate the sound, a metal diaphragm to vibrate a sharp steel needle, 1877: up & down impression in wax cylinder 1885: wax on cardboard cylinder (Dictaphones) 1896: side to side impression on coated flat disc at 78 rpm (still used into 1960s) No editing possible. Electrical Recording technology 1924: megaphone replaced by microphone & electrical amplification, Other factors remained same as acoustical recording. 1898: magnetic recording on steel piano wire 1925: mag. recording on steel bands, 1935: mag. recording on paper tape coated with iron oxide, c1945: mag. recording on plastic tape coated with iron oxide, 1950s: simultaneous recording of more than one track. 1950s: recording tracks one at a time with punch-in capability, 1980s: recording direct to computer memory 1980s: digital recording. Playback of Recorded Sound Acoustical Playback Technology, Reversed the recording process: sharp steel needle made to vibrate, vibrates metal diaphragm, amplified by megaphone, Cylinders were one-of-a-kind, no mass production, 78 rpm discs could be manufactured in quantity-12” & 10” sizes held 4 minutes maximum– Only one side held music; later both sides– Shellac discs fragile, breakable – The first “albums” were sets of discs in a booklike storage holder. Late 1940s: “Hi Fidelity” audiophile equipment- Wider frequency response & less noise- “Component” systems. Long-playing (LP) Microgroove Discs_ Introduced in 1948 by Columbia & RCA in 2 incompatible formats, both using unbreakable vinyl_ Classical music: Columbia’s 12” disc with small center hole, 15-30 minutes per side at 33 rpm _ Pop music: RCA’s 7” disc with large center hole,3-4 minutes per side at 45 rpm. Required 1 or 2 new turntable- Small groove required small synthetic saphire or diamond stylus- Small motions of the stylus required a magnetic cartridge & special preamplification- Two standards developed. Monophonic Tape Playback Technology_ 1950s: reel-to-reel tape, Less noise & greater durability, 7” tape reel gave 30 minutes at standard speed ( 1/2 ips), Professional machines ran twice as fast, At first “full-track” recording in one direction, Later “half-track” with 30 minutes on each side. 1957: the first stereophonic recordings, 2 separate tracks recorded one direction only, Later “quarter-track” recorded in both directions, Stereo cartridges for phonographs were a major breakthrough, 2 separate amps required; later stereo amps Designed, c1960 multiphonic sound for movie theaters. Simpler Playback Technologies: c1958: cassette tapes– For the mass market to avoid threading tapes– Very slow speed (1 7/8”/second)– Dreadfully poor quality for quite a while– Late 1980s: cassette sales passed LP sales_ 1965: 8-track cartridges– First mass-market technology for cars & trucks– Endless loop tape– Peaked in mid- 1970s, dead by mid-1980s. Digital Playback Technology:_ Digital technology c1980: compact disc using video disc technology, Videodisc market had died, came back in late 1980s DVD for the new century, Probably used NASA and Jet Propulsion Lab technology developed for the space program. The Broadcast Industry Broadcasting technology, c1920: AM (amplitude modulation) radio, National networks formed in the 1920s, Subject to atmospheric noise, c1950: FM (frequency modulation) radio, Line of sight transmission only, Networks never a factor. 1930s: Television, Radio networks became TV networks, All broadcasts live at first– Kinescopes (motion picture technology) – Videotape (poorer quality)– Phone lines; microwaves; satelites 1951: Color TV, 1960s: Videotape (mass marketed late 1970s) 1970s: Videodiscs. Art music between and after the World Wars René Leibowitz (1913-1972) – Revived & taught Schönberg’s techniques in Paris after WWII Olivier Messiaen (1908-1992) – Combines emotional religious feeling with highly organized intellectual control– Like Stravinsky, an individualist who used many different techniques– Influential music» Quartet for the End of Time , 1940» Mode of Values & Intensities , 1949 » Meditations on the Mystery of the Holy Trinity , 1969. The search for new sounds Edgard Varèse (1883-1965)– French, but worked in America– “Organized sound,” not “music”– Used sirens, later Theremin & Ondes Martenot– Used tapes of natural, industrial, city sounds, Influentical works:– Ionisation (1931), percussion & piano – Density 21.5 (1936), platinum flute– Deserts (1954), instruments alternating with tape– Poème électronique (1957) on 3-track tape» For the Philips Pavilion at the 1958 Brussels World Fair» Spacial effects by playback through 425 speakers with moving lights & projections. John Cage (1912-1992) American, studied with Schönberg & Henry Cowell, Took “prepared piano” beyond Cowell’s Studied Zen & composed “chance” music – Sounds determined by random chance– Music constructed by random choices– “Open forms” leaving choices to the performers– Music made up of silence, Assembed musical collages on tape, Musical “happenings”—uncoordinated actions. Influential music: – 4’ 33” (1952)—one or more players sitting silently for that length of time. George Crumb (1929-) American, Microtones, very wide leaps, special sound effects, unusual instruments, Influential music:– Ancient Voices of Children (1970)» Song cycle for soprano, boy soprano, oboe,mandolin, harp, electric piano, toy piano– Thirteen Images from the Dark Land (1970)» Amplified string quartet. György Ligeti (1929-) Hungarian; researched Romanian folk Music, Used extended serialism; later decided it was self-defeating, Musical texture, clusters, “clouds”, “Minimalism”—short figures repeated many times, Important for leaving serialism & electronic music & exploring other areas. Krzystof Penderecki (1933-) Polish, Sound masses, clusters, glissandi, Focus on textures & timbres, Dramatic, for vocalists, chorus, orchestra, Influential music– Threnody for the Victims of Hiroshima (1960) Musique concrète Originated in late 1940s, Natural sounds, captured on tape,manipulated by the composer, not interpreted by a performer, Pieces for ballet, radio, pantomime, opera, film. Important composers– Pierre Schaeffer (1910-)– Pierre Henry (1927-)» Developed an index of all kinds of useable sounds» Later combined this with pure electronic techniques» Later included lighting effects (multi-media). Extended serial techniques Pierre Boulez (1925-) – French, studied with Messiaen & Leibowitz– Derived melodic “cells” from his rows– Conductor who introduced many new works– Used some chance elements– Best known music:» Le marteau sans maître (“The Masterless Hammer,”1954) in 9 movements for voice with chamber ensemble. Milton Babbitt (1916)– Mathematician whose music is based on mathematical procedures– Used serial procedures for rhythm, dynamics,etc.– Wrote for conventional instruments and electronic, First composer to work with synthesizer » RCA Mark II synthesizer, 1950s » Synthesizer output recorded on tape. Electronic Music : Sounds created electronically, recorded on tape, New sounds created, Sounds could be manipulated, edited, Allowed absolute control, No performer is needed,Composers:– Stockhausen– Berio. Karlheinz Stockhausen (1928-)- German, Studied with Messiaen, worked with, Boulez, did musique concrete, Developed new notation for electronic music (necessary for copyright) Both electronic music & music for conventional instruments, Recorded and manipulated human voice, Used elements of chance. Important music: – Kontra-Punkte (“Counterpoints,” 1952) » Piano & 9 instruments » Established his avant-garde reputation– Gesang der Jünglinge (“Young Men’s Song,”1956). Luciano Berio (1925-)- Italian- Electronic music & music for conventional instruments, Worked with synthesizers & computers at Columbia University & at Bell Labs 1961-1972. Minimalism: Not the same as “pointalism”- Uses minimum of musical material,constantly repeated, Static harmonies. Major composers: Steve Reich (1936-)– Players out of synch with each other (Ex. 187)– Same technique for tape or live music Philip Glass (1937-)– Static harmonies, chord streams, organum-like passages John Adams (1947-) known for operas– Nixon in China (1987)– The Death of Klinghoffer (1991). Eclecticism, Combining styles and characteristics from different centuries, including 20th, Major composers: Ellen Taaffe Zwilich (1939-)» Influences of jazz, Bartók, Berg, Stravinsky» Concerto Grosso 1985 tribute to Handel (Ex. 188) Joan Tower (1938-)» Early works serial, later more eclectic » Fanfare for the Uncommon Woman (1986-1992).American Popular Music since World War II, ASCAP strike against broadcasters– New sources of music needed– “Ethnic” musics—Black, C&W, early R&B, Gospel, BMI founded by the broadcasters, Movie music, then TV music became important. Rock & Roll grew up outside the 50s mainstream Elvis, the Beatles brought R&R to prominence, R&R became Rock in the 60s, “Motown” sound defined Black 60s music, DJ “payola” scandals in the 60s, New copyright law in1978 protected recordings for the first time, Rock gradually became middle-of-the-road music. American Popular Music since World War II Country & Western became “Country”(Nashville), MTV, format programming, music videos in the 80s, Crossover and fusion sounds important, Rap defined Black music in the late 80s Contemporary Christian became a major part of the industry New Age and Space music popular in the 90s. American Jazz since World War II, By the 60s jazz still very popular, but no longer mainstream as it was in the Big Band era Small combo jazz grew out of Be-bop, Jazz slowly accepted in universities, “Fusion” combined jazz & rock elements, Middle-of-the-road “sweet” jazz was replaced by middle-of-the-road Rock, “Society” jazz is dying out along with its players. Music for broadcast—Radio “Standby” musicians, Live music – Theme music– Underscore for radio drama– Classical, variety, comedy shows, The “Hit Parade”– The most popular songs each week, First singing commercials– “Pepsi Cola hits the spot…” by male quartet– “You can trust your car to the man who wears the star…” by male quartet– “Rinso white…” by Beverly Sills. Music for Broadcast— TV, Even shows without musical content needed music– Recognizable theme music– Brief music cues for transitions between scenes, Early 80s, MTV & other outlets for music videos, Music libraries pre-recorded and ready to use for news events by the major broadcast networks, CNN– O.J. theme music; Gulf War music; Kosovo– “Theme” visuals also standing by. Movies & Dramatic TV Shows with specific musical content as part of the story, Shows with only incidental musical content. Shows with musical content: Early pioneering examples– “The Jazz Singer,” 1928– “Steamboat Willy,” 1929, Movie musicals from Broadway– Original music retained, but… » Expanded, changed, transposed, etc.– Sometimes new songs added, others deleted– “Sound of Music,” “Oklahoma,” “Mame”. Original movie musicals– Fred Astaire in the 30s & 40s– Gene Kelly in the 40s & 50s– Later Danny Kaye, Bing Crosby, etc.– In the style of Broadway, but often more fantasy, Movies that include music or singing as part of a serious dramatic story– “Lady Sings the Blues,” “Glen Miller Story”– A character who’s a nightclub

singer or rock singer Theme music, identified with the show, Theme used for opening & closing credits– “Star Wars,” “Indiana Jones”, Phrases or motives may be used throughout as underscore – “Murder, She Wrote,” “Adventures of Sherlock Holmes,” “Jaws”, Phrases or motives may be used occasionally – “Star Wars,” “Star Trek”. Transition music between scenes– Represent time lapse– Represent change of location, sub-plot, Musical scenes incidental to the drama– Scene set in jazz club, roadhouse, bar– Cantina scene in “Star Wars”, Music part of non-musical scenes– Character turns on stereo, radio, TV– Music from outside the scene is heard– Character is supposed to be playing or singing» Data in “Star Trek”. Underscore—”mood” or “scenic” music, Carefully crafted with controlled starts,stops, accents, etc., Fits mood & emotion of the scene-“Scenic beauty” (“Born Free”)– “Dirty Work Afoot” (any mystery)– “Chase” (horses, cars, afoot)– “Love Theme” (but sex scenes usually don’t have music) New in the late 70s, a movie “score” made up of individual rock songs by individual artists– “Dirty Dancing,” “Footloose” All music cues, even of a known recording, are newly recorded– Copyright laws and musician’s union rules– TV themes must be re- recorded every new season. The Corporate Creative Process ,Common on Broadway; institutionalized & unionized in movies & TV, “Theme by…” (He composed the main title only)- “Music by…” (He gets all the credit, but may not have done all the work)- “Orchestrations by…” (He arranged it from the composer’s piano score). “Dance Orchestrations by…” (Ditto, but he knows how to keep dancers happy) “…, Copyist” (He may actually have finished the orchestration) “Additional Music by…” (He got called in to solve the problems!). The Individual Creative Process: Totally synthesized themes & cues (music budget up to about $20,000)- Multiple overtracks, one line at a time (Disney “Electrical Parade”)- Played in real time and then overtracked (“Miami Vice”)- Sequenced with overtracks (bad horror flicks). Live music or live combined with synthesized tracks (music budget starts about $120,000)- All or part of the sequencing done first, then live tracks added (“click track”)-Live tracks done first, then synthesized tracks added (“time code”)- Mixed down to mono, stereo, quad, or multiphonic master. Purposes of Theatrical/Dramatic Music - Create a musical presence identified with the movie/TV show, Enhance the telling of the story, Effect, direct, and intensify the viewer’s emotions, Set the scenes, mark scene changes, For TV, frame the commercial breaks and separate them from the story. Pre-Musical Theater in America, Until World War II, “Musical Comedy”– Simple boy-meets-girl stories– Songs stopped the action, expressed feelings– Songs interchangeable, Unusual: the first move from “Musical Comedy” to “Musical Theater” took place during the war. The Beginnings of Musical Theater Richard Rodgers wrote Musical Comedies with Lorenze Hart from 1920-1941, When Hart died, Rodgers approached Oscar Hammerstein II, an older man who had collaborated with Jerome Kern on “Showboat” Rodgers and Hammerstein decided to try something different. Oklahoma! (1943) Based on a serious novel, “Green Grow the Lilacs” Hammerstein believed the songs should grow out of thestory, not just be dropped into it Rodgers created music based on the same idea: Theater with Music, Agnes DeMille, a serious ballet choreographer, created the dances. They knew they were breaking every rule in the book, and expected a failure Instead they had a show that broke every attendance record and was a critical masterpiece, Musical Theater had been proven, Audiences now expected something more creative than “formula” shows, Same process, same results as 18th century opera. Musical Theater through the 1950s and 60s, Musical Comedy continued, but the success of “Oklahoma!” allowed more adventurous experiments- The music of Broadway was changing– No longer crafted as saleable pop songs– Often so integrated with the story they didn’t make sense outside it– Same thing had happened in 19th century oper, Gradually, just as be- bop separated American jazz from mainstream pop music, Broadway songs also became separate from pop Musical Theater in the 70s and 80s, American producers began to turn to revivals, British Musical Theater became more creative than America, Andrew Lloyd Webber became the most important and successful Musical Theater Composer in history :“Jesus Christ Superstar” 1969 with Tim Rice; “Evita,” “Cats,” “Starlight Express” First show not to be a hit was “Aspects of Love.” Musical Theater in the 80s English and Continental Musical Theater got closer and closer to opera and began to merge– “Les miserables,” “Sweeney Todd”, The Italian verismo movement brought to Broadway– “Big River,” “Will Rogers Follies,” “City of Angels”. American Musical Theater turned back to American subject matter with some success “Big River,” “Will Rogers Follies,” “City of Angels”. Musical Theater in the 90s Still lots of European shows (but revised for American audiences) More contemporary stories—”Miss Saigon” Still lots of revivals. Continuing with Functional Music in American Culture “Functional” means …– Not “Art” music separated from society– Not “Popular” music written specifically for profit ,3 Time periods:– Before World War II– The 1950s and 1960s– 1970-present.. Changes in Music Education Universal elementary education required, Music in the schools—basic or a frill?, music degrees offered in colleges, Opening up of higher education to women, minorities. New theories of education– Gestalt learning theory—Germany, Maria Montessori-Italy,Zoltán Kodály-Hungary,Carl Orff—Germany. Changes in Making Music, Music lessons for amateurs, A Piano in every Parlor, Readily available sheet music, Instrument making industrialized, 1950s guitar starts to replace piano 1980s synthesizers, keyboards mass marketed. Changes in Listening to Music Live performances, After WW I the first recordings, The first radio broadcasts, Hi-Fi & Stereo after WW II, Tape, CD, MP3, DVD today. Changes in Thinking about Music 1900: a personal activity— continues, but declines 1940s: Crossover from Popular music thanks to Fred Waring 1950: a group activity—continues, but declines 2000: a passive activity— the recording is the music 2050? With new technology, perhaps a return to personal music making? Educational Music before WW II, General music instruction in the schools – American folk music– Composed folk-like music, Choral music– Mostly from the existing choral repertoire– Both sacred & secular– Spirituals & collegiate arrangements from the college glee clubs

• Novelty songs from college glee clubs. Orchestral music
• Standard orchestral repertoire– Some simplified arrangements of standard pieces– A few medleys of Broadway songs, Band music– From orchestral repertoire-Specific band music — Marches– Little original band music. Educational Music 1950s-1960s, General music the same, but more inclusive, Choral music- More arrangements of popular music– Fred Waring’s publications aimed at schools– More arrangements of Tin Pan Alley songs Orchestral music– Specifically educational music
• Written for young players– Medleys of show tunes for young players. Band music– Specifically educational music
• Hal Leonard, simplified arranging– Specific Grade Levels (1-6) Jazz music– Available for the first time– “Stock arrangements” in big-band style– Original “Stage Band” pieces– Educational arrangements have written-out solos Educational Music 1970s-present General music repertoire enriched– Kodály and Orff materials– Multicultural emphasis Choral music– Less standard repertoire, more specifically educational music– More simplified arrangements—SAB instead of SATB– Show choir/Swing choir becoming popular, especially in the Midwest – Vocal jazz choir becoming very popular, especially on the West Coast. Orchestral music
• Fewer schools have orchestras– Therefore less music available Band music:– Repertoire expanding a lot– Most band pieces specifically educational– Serious composers finally composing serious, demanding music for band Jazz music:– Repertoire expanding a lot– Most pieces specifically educational. Worship music before WW II The traditional sacred choral repertoire– Accompaniment for organ– Or a cappella, Traditional hymnals– Traditional settings– Traditional texts & tunesn Catholic church
• Service remained in Latin– Traditional chants still used
• Less music than Protestant churches. Worship music 1950s-1960s, New music being composed– Traditional, functional styles– Not experimental, academic music Hymnals slightly updated– Folk hymns gain popularity Vatican Council II (early 60s)– Change from Latin to local language– 2,000 years of music with Latin texts gone
• Folk masses or “Guitar” masses. Worship music 1970-present “Contemporary Christian”– An entire new sub-industry– Took on popular styles, Hymnals slowly updated
• Victorian hymns replaced– Revisionist, gender-neutral texts, New service music written for Episcopal church, 1982 hymnal.