XXIV: Disclaimer
I offer my sincerest apologies for what promises to be the most boring bowleg of them all. As a race, we have either gotten very good at keeping records, or haven't sorted out what will really make it into the textbooks yet. It might be worth skimming this one when you're sick and tired of dealing with your real life, there's nobody to talk to, and you happen to have a glass of your favorite wine on hand.
XXV: Musical Theater
American musical theater developed from the operettas of Johann Strauss Jr. (1825-1899) in Austria, Jaques Offenbach (1819-1880) in France, and lyricist and composer duo W. S. Gilbert (1836-1911) and Arthur Sullivan (1842-1900) of Great Britain. Although plots were originally rather contrived, composers eventually turned to more sophisticated novels and plays. Early American musical theater composers include Victor Herbert (1859-1924, Babes in Toyland), Sigmund Romberg (1887-1951, The Student Prince), Jerome Kern (1885-1945, Showboat), Burton Lane (1912-1997, Finian's Rainbow), Cole Porter (1891-1964, Kiss Me, Kate), Frank Loesser (1910-1969, Guys and Dolls), Harold Rome (1908-1993, Fanny), and lyricist and composer duo Alan Jay Lerner (1918-1986) and Frederick Loewe (1901-1988, My Fair Lady, Camelot). Composer Richard Rogers (1902-1979) collaborated with lyricist Lorenz Hart (1895-1943) on twenty-eight musicals including Babes in Arms. After Hart passed away, Rogers turned to lyricist Oscar Hammerstein II (1985-1960) and the two produced such classics as Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music.
In the 70s and 80s, Stephen Sondheim (b.1930) created a more complex and dramatic musical sound in musicals like A Little Night Music, Sweeney Todd, Sunday in the Park with George, and Into the Woods. Much like the Baroque court operas, British composer Andrew Lloyd Webber (b.1948) combined song, dance, and scenic effects in Evita, Cats, Starlight Express, The Phantom of the Opera, and Sunset Boulevard. In the same vein, French composer Claude-Michel Schönberg (b.1944) and lyricist Alain Boublil (b.1941) wrote Les Misérables, Miss Saigon, and Martin Guerre.
Leonard Bernstein (1918-1990) was a terrifically famous composer, conductor, pianist, lecturer, and television personality. At age forty, he became the first American-born conductor to lead the New York Philharmonic. Bernstein also successfully combined jazz and musical theater in his classic, West Side Story. His first success occurred in 1943 at the age of twenty-five, after graduating from Harvard and Curtis. Bruno Walter, the conductor of the New York Philharmonic, fell sick and needed a substitute for a live nationwide broadcast by CBS. With no rehearsals, Bernstein held a spectacular performance and instantly became famous. He collaborated with Jerome Robbins, Betty Comden, and Adolph Green for Broadway's On the Town the next year. When Bernstein was blacklisted in Hollywood by loser Joseph McCarthy in the early 50s, he collaborated with Lillian Hellman in Candide, a musical best known today for its overture. In 1957, Bernstein worked with Jerome Robbins again in West Side Story, a Romeo and Juliet story incorporating Latin rhythms ("Mambo"), a Schoenberg twelve-tone bebop fugue ("Cool"), and the theme of Beethoven's Emperor Concerto ("Somewhere"). As a conductor, Bernstein promoted contemporary American composers, recorded eight of the nine gargantuan Mahler Symphonies, and held musical lectures on television from 1954 until his death. In addition to musical theater, he composed symphonies, ballets, operas, songs, piano works, and chamber music.
Leonard Bernstein (1918-1990) was a terrifically famous composer, conductor, pianist, lecturer, and television personality. At age forty, he became the first American-born conductor to lead the New York Philharmonic. Bernstein also successfully combined jazz and musical theater in his classic, West Side Story. His first success occurred in 1943 at the age of twenty-five, after graduating from Harvard and Curtis. Bruno Walter, the conductor of the New York Philharmonic, fell sick and needed a substitute for a live nationwide broadcast by CBS. With no rehearsals, Bernstein held a spectacular performance and instantly became famous. He collaborated with Jerome Robbins, Betty Comden, and Adolph Green for Broadway's On the Town the next year. When Bernstein was blacklisted in Hollywood by loser Joseph McCarthy in the early 50s, he collaborated with Lillian Hellman in Candide, a musical best known today for its overture. In 1957, Bernstein worked with Jerome Robbins again in West Side Story, a Romeo and Juliet story incorporating Latin rhythms ("Mambo"), a Schoenberg twelve-tone bebop fugue ("Cool"), and the theme of Beethoven's Emperor Concerto ("Somewhere"). As a conductor, Bernstein promoted contemporary American composers, recorded eight of the nine gargantuan Mahler Symphonies, and held musical lectures on television from 1954 until his death. In addition to musical theater, he composed symphonies, ballets, operas, songs, piano works, and chamber music.
XXVI: What's on the Radio
I find this section to be so overwhelming that I refuse to continue writing in English. Each sentence will look something like this: genre, era: influences: performers. When read outloud to loved ones, it should be about as interesting as a bibliography. If it sounds more like a graduation announcement, exaggerate your facial expressions and annunciate until it sounds more like a bibliography.
Rhythm and blues, 40s-60s: blues, pop: Louis Jordan, Etta James, Bo Diddley, Joe Turner, B. B. King. Rock and roll, 50s: rhythm and blues, country-western, pop, gospel: Bill Haley, Elvis Presley, Jerry Lee Lewis, Chuck Berry, Fats Domino, Little Richard. Soul or Motown, 60s: rhythm and blues, gospel, pop: Diana Ross, James Brown, Martha Reeves, Aretha Franklin, Ray Charles. Rock and roll or Rock, 60s: The Beatles: The Beach Boys, The Rolling Stones, The Who. The Beatles experimented with all sorts of different sounds and influences. They are great. The Rolling Stones wrote songs that condoned sex, drugs, and violence.
Folk rock, 60s: rock, folk protest songs: The Byrds, Pete Seeger, Bob Dylan. Acid Rock, 60s: drugs, improvisation, sound technology: The Jefferson Airplane, The Grateful Dead, Pink Floyd. Jazz rock: 70s: jazz, rock: Chicago, Blood Sweat and Tears. Art rock or Progressive rock, 70s: art music, rock: Moody Blues, The Who, Frank Zappa. Latin rock, 70s: Latin and African percussion, rock: Santana. Mainstream rock, 70s and 80s: many styles: America, The Eagles, The Doobie Brothers, Elton John.
Heavy metal, 70s: simplicity, volume: Led Zeppelin, Black Sabbath, Deep Purple. Glitter rock or Glam rock, 70s: theater: David Bowie, Lou Reed. Punk rock, 70s: rock and roll: The Ramones, Sex Pistols, The Clash. Disco, 70s: mechanical beat: Bee Gees. Reggae, 70s: Jamaican rhythms: Bob Marley, Black Uhuru. Soft rock, 70s: rejection of heavy metal and punk: The Carpenters, Olivia Newton-John. New wave, 70s: melody, rock: Elvis Costello, The Police, Blondie, The Talking Heads. Rap or Hip Hop, 70s and 80s: synthesizers and stereo turntables: Run DMC, Public Enemy, Queen Latifah, Beastie Boys. Gangsta rap, 90s: inner city: N.W.A., Snoop Doggy Dogg, Tupac Shakur, Notorious B.I.G. R&B, 90s: rhythm and blues, melismatic singing: Whitney Houston, Mariah Carey.
In the 80s, the invention of the music video on MTV greatly influenced the visual aspects of new bands. Michael Jackson, Bruce Springsteen, Prince, Madonna, U2, and Guns n' Roses were the superstars of the 80s. Grunge rock, 80s and 90s: punk, 70s metal: Soundgarden, Nirvana, Pearl Jam. Alternative rock, 80s and 90s: grunge, indie: R.E.M., The Smiths, Foo Fighters, Red Hot Chili Peppers, The Smashing Pumpkins, Green Day, Weezer, Radiohead, The White Stripes. Ska (third wave), 90s: ska, punk: No Doubt, Reel Big Fish.
Country-Western music has its roots in the mountains of Appalachia. Hillbilly music: blues: The Carter Family, Jimmie Rodgers. Bluegrass, 40s on: folk, jazz: Monroe brothers, Lester Flatt, Earl Scruggs. Honkytonk, 50s: rock and roll: Patsy Cline, Hank Williams, Johnny Cash. Classic Country, 60s and 70s: folk: Loretta Lynn, Merle Haggard. Mainstream Country, 70s: John Denver, Glen Campbell. Country rock, 80s: country, pop: Dolly Parton, Willie Nelson. Country, 90s: country: Garth Brooks, Shania Twain.
Global pop is influenced by music from third world countries, often collaborating between Western and non-Western musicians. I Love Lucy is a good example of global pop from the 50s. Another is Zydeco, 50s on: Cajun, African-American, Caribbean: BeauSoleil, Jean-Baptiste Fuselier.
In the 80s, the invention of the music video on MTV greatly influenced the visual aspects of new bands. Michael Jackson, Bruce Springsteen, Prince, Madonna, U2, and Guns n' Roses were the superstars of the 80s. Grunge rock, 80s and 90s: punk, 70s metal: Soundgarden, Nirvana, Pearl Jam. Alternative rock, 80s and 90s: grunge, indie: R.E.M., The Smiths, Foo Fighters, Red Hot Chili Peppers, The Smashing Pumpkins, Green Day, Weezer, Radiohead, The White Stripes. Ska (third wave), 90s: ska, punk: No Doubt, Reel Big Fish.
Country-Western music has its roots in the mountains of Appalachia. Hillbilly music: blues: The Carter Family, Jimmie Rodgers. Bluegrass, 40s on: folk, jazz: Monroe brothers, Lester Flatt, Earl Scruggs. Honkytonk, 50s: rock and roll: Patsy Cline, Hank Williams, Johnny Cash. Classic Country, 60s and 70s: folk: Loretta Lynn, Merle Haggard. Mainstream Country, 70s: John Denver, Glen Campbell. Country rock, 80s: country, pop: Dolly Parton, Willie Nelson. Country, 90s: country: Garth Brooks, Shania Twain.
Global pop is influenced by music from third world countries, often collaborating between Western and non-Western musicians. I Love Lucy is a good example of global pop from the 50s. Another is Zydeco, 50s on: Cajun, African-American, Caribbean: BeauSoleil, Jean-Baptiste Fuselier.
XXVII: Art Music
Just as Schoenberg's serialism sought to organize pitch material, the concept of total serialism included organization concerning every aspect of music, such as rhythmic and dynamic values. On the other hand, some composers determined these variables through chance, in what became known as aleatoric music, erasing the notion of form. In addition to total serialism and aleatoric techniques, contemporary composers have been influenced by non-Western cultures, the role of microtonal intervals such as quarter tones, and electronic music.
In France, Oliver Messiaen (1908-1992) wrote melodies inspired by bird songs, Javanese gamelan music, and Gregorian chant. Italian composer Luciano Berio (1925-2003) incorporated aleatoric techniques, serialism, and electronic technology into his compositions. Karlheinz Stockhausen (1928-2007) explored aleatoric techniques, serialism, improvisation, and prerecorded tape in Germany. Born in Hungary and active in Vienna, György Ligeti (1923-2006) was heavily influenced by electronic music and developed his own micropolyphony as well as extremely complex rhythmic techniques. The works of French composer and conductor Pierre Boulez (b. 1925) incorporate many non-Western sounds, serialism, and the use of controlled chance. Contemporary composers from America include Henry Cowell (1897-1965), George Perle (1915-2009), Henry Brant (1913-2008), Louise Talma (1906-1996), and Barbara Kolb (b.1939). Perhaps the best known are John Cage (1912-1992) and George Crumb (b.1929). Cage is credited with inventing the prepared piano, which uses metal, wood, or leather on the strings to vary the sound. Crumb is revered for achieving a very dramatic and emotional output through the use of contemporary compositional techniques.
Before 1926, silent film was accompanied by live music featuring popular tunes and sound effects. With the invention of the Vitaphone system, sound could be synchronized with film for the first time, leading to a demand in film music. If you don't remember the 20s, perhaps you remember watching a depiction of this technological advancement in the 1952 classic, Singin' in the Rain. Ever since it was possible, composers have been writing film music to make you feel what you otherwise wouldn't in the theater. Although these composers don't typically receive the same recognition as Hollywood stars, it is largely their work that makes you feel the urge to relax, cry, or nervously look away. Film music can also help to establish mood, character, and setting. Harkening back to Wagner, many film composers returned to the idea of Leitmotifs. John Williams (b.1932) has written Leitmotifs you probably know, such as the two-note suspenseful theme from Jaws, or the character motives for Luke Skywalker (fanfare), Yoda (melody), and Darth Vader (march) in the Star Wars trilogy. Other than previously mentioned composers Shostakovich, Prokofiev, and Copland, notable film score composers include Max Steiner (1888-1971), Eric Korngold (1897-1957), Bernard Herrman (1911-1975), Miklós Rózsa (1907-1995), Dmitri Tiomkin (1894-1979), Elmer Bernstein (1922-2004), Jerry Goldsmith (1929-2004), James Horner (b.1953), Danny Elfman (b.1953), and Tan Dun (b.1957).
Of course, the use of synthesizers, computer-generated music, and other technological advancements was not lost in the world of art music. New electronic instruments such as the Theremin, Ondes Martenot, and Hammond organ were invented. In the 40s, electronically manipulated recordings formed a trend called musique concrète in France, led by Pierre Schaeffer (1910-1995). During the next decade, Stockhausen created the school of electronische Musik in Germany. Other electronic music pioneers are Mario Davidovsky (b.1934), Milton Babbitt (1916-2011), and Paul Lansky (b.1944).
Current compositions have been labeled as New Romantic and minimalist. New Romanticism is a response to the largely unappreciated serial techniques which tend to favor intellect over emotion. Notable composers of this genre include Samuel Barber (1910-1981), Ned Rorem (b.1923), Thea Musgrave (b.1928), David Tredici (b.1937), John Corigliano (b.1938), and Joan Tower (b.1938). Barber wrote Adagio for Strings, which is the slow movement from his only string quartet. It has been used in several films and was broadcast on the radio after the death of President Roosevelt. Corigliano has composed notable chamber pieces, two symphonies, and the soundtracks for Glory and The Red Violin.
Other composers responded to various twentieth century techniques by simplifying music from the build up of complex procedures. Although minimalist music changes very slowly, each detail is very carefully considered by the composer. Well known minimalists are Steve Reich (b.1936), Philip Glass (b.1937), John Adams (b.1947), and Arvo Pärt (b.1935). Adams is best known for Short Ride in a Fast Machine, Shaker Loops, and On the Transmigration of Souls, which commemorates the victims of September 11, 2001. Pärt initially composed neoclassic and serial works, but stopped composing altogether in the 70s and studied medieval and Renaissance music. When he returned to composition, his sound had changed completely with a new style he called tintinnabulation, derived from the Latin word for "bell." Pärt is the best known contemporary composer of sacred music.
Here is that recording now, set to an edited version of one of my favorite animations of all time. Some might view this as an example of the film score technique running counter to the action. If it bothers you, please stop watching and enjoy the beautiful music anyway. It's well worth seven attentive minutes of our lives.
Before 1926, silent film was accompanied by live music featuring popular tunes and sound effects. With the invention of the Vitaphone system, sound could be synchronized with film for the first time, leading to a demand in film music. If you don't remember the 20s, perhaps you remember watching a depiction of this technological advancement in the 1952 classic, Singin' in the Rain. Ever since it was possible, composers have been writing film music to make you feel what you otherwise wouldn't in the theater. Although these composers don't typically receive the same recognition as Hollywood stars, it is largely their work that makes you feel the urge to relax, cry, or nervously look away. Film music can also help to establish mood, character, and setting. Harkening back to Wagner, many film composers returned to the idea of Leitmotifs. John Williams (b.1932) has written Leitmotifs you probably know, such as the two-note suspenseful theme from Jaws, or the character motives for Luke Skywalker (fanfare), Yoda (melody), and Darth Vader (march) in the Star Wars trilogy. Other than previously mentioned composers Shostakovich, Prokofiev, and Copland, notable film score composers include Max Steiner (1888-1971), Eric Korngold (1897-1957), Bernard Herrman (1911-1975), Miklós Rózsa (1907-1995), Dmitri Tiomkin (1894-1979), Elmer Bernstein (1922-2004), Jerry Goldsmith (1929-2004), James Horner (b.1953), Danny Elfman (b.1953), and Tan Dun (b.1957).
Of course, the use of synthesizers, computer-generated music, and other technological advancements was not lost in the world of art music. New electronic instruments such as the Theremin, Ondes Martenot, and Hammond organ were invented. In the 40s, electronically manipulated recordings formed a trend called musique concrète in France, led by Pierre Schaeffer (1910-1995). During the next decade, Stockhausen created the school of electronische Musik in Germany. Other electronic music pioneers are Mario Davidovsky (b.1934), Milton Babbitt (1916-2011), and Paul Lansky (b.1944).
Current compositions have been labeled as New Romantic and minimalist. New Romanticism is a response to the largely unappreciated serial techniques which tend to favor intellect over emotion. Notable composers of this genre include Samuel Barber (1910-1981), Ned Rorem (b.1923), Thea Musgrave (b.1928), David Tredici (b.1937), John Corigliano (b.1938), and Joan Tower (b.1938). Barber wrote Adagio for Strings, which is the slow movement from his only string quartet. It has been used in several films and was broadcast on the radio after the death of President Roosevelt. Corigliano has composed notable chamber pieces, two symphonies, and the soundtracks for Glory and The Red Violin.
Other composers responded to various twentieth century techniques by simplifying music from the build up of complex procedures. Although minimalist music changes very slowly, each detail is very carefully considered by the composer. Well known minimalists are Steve Reich (b.1936), Philip Glass (b.1937), John Adams (b.1947), and Arvo Pärt (b.1935). Adams is best known for Short Ride in a Fast Machine, Shaker Loops, and On the Transmigration of Souls, which commemorates the victims of September 11, 2001. Pärt initially composed neoclassic and serial works, but stopped composing altogether in the 70s and studied medieval and Renaissance music. When he returned to composition, his sound had changed completely with a new style he called tintinnabulation, derived from the Latin word for "bell." Pärt is the best known contemporary composer of sacred music.
XXVIII: And They All Lived Happily Ever After.
And so, at last, we reach the end of this series. If you'd like to pass my final, I'll send you a personally handcrafted graduation certificate. Just send your answers and color/design requests to kratzke@gmail.com.
Final: A History of Western Music in 10 Bowlegs
1. Describe something that has made a lasting impression for you.
2. Write your own conclusion concerning the last 1500 years of Western Music.
3. Pick a musical era and describe how it sounds different than any other to your own ear.
4. Ask at least one question about something that didn't make sense to you.
Bonus: Find a typo for me.
On the morning of Thursday, August 18th, I was driving from a favorite student's very last lesson to a fantastic presentation by my good friend Emily Jensen. Needless to say, I was in a bit of a rush. I turned the radio on to "Classically Austin 89.5, KMFA," which was playing, Midday with Dianne Donovan. It featured Spiegel im Spiegel (mirror in mirror) by Arvo Pärt, one of his first examples of tintinnabulation. Performing were UT distinguished artist and violin faculty member Anne Akiko Meyers with pianist Akira Eguchi, in their album Smile. The sun was shining, the traffic was fairly clear, and a latte was cheerfully pumping through my veins. I found the performance so beautiful that I stopped paying attention to everything else for a while, and was horrified by the time I glanced down at my speedometer. Suffice it to say I got to the meeting with time to spare.Here is that recording now, set to an edited version of one of my favorite animations of all time. Some might view this as an example of the film score technique running counter to the action. If it bothers you, please stop watching and enjoy the beautiful music anyway. It's well worth seven attentive minutes of our lives.
No comments:
Post a Comment