Classical music of 20th and 21st - Personal Statement Example

ical Music of the 20th and 21st Centuries Twentieth-century composers increasingly faced a decision about the role that consonance and traditional tonality (i.e., music in a key) would play in their musical styles and their conclusions varied widely. While the classical tradition had sought to develop tonality and perfect it to the highest order, the 20th century saw a gradual deconstruction of these forms. This essay considers these elements in the works of a variety of composers from 1908 onwards. Prior to 1908 classical compositions had sought to develop means of achieving gradually greater states of tonal perfection. After 1908 compositions took a shift with an increased emphasis on consonance. In the work of composers such as Arnold Schoenberg and Charles Ives a gradual shift tonality to consonance is demonstrated. Similarly in the ballet compositions of Igor Stravinsky strong avant-garde stylings emerge. It’s clear that these composers were highly influenced by Modernism in the arts. In the work of Aaron Copland a shift from this avant-garde emphasis to a greater concern with tonality and structure emerges. Composers in the later 20th century would continue to explore consonance. John Cage would popularize a style of composition based on unintentional notes, where any semblance of tonality was disregarded. And composers like Peter Maxwell Davies would mash both tonality and consonance in a unique 21st century approach to composition. Arnold Schoenberg Arnold Schoenberg is a 20th century avant-garde composer that would go on to influence John Cage. His contributions to contemporary composition and music are well regarded. In terms of the questions of tonality and consonance, Schoenberg has a number of periods that must be considered. In his early compositional periods, he was more aligned with tonality, albeit in an experimental context. As he moved on to his later periods after 1908, he gradually adopted a more avant-garde style that embraced consonance (Kamien 2008). One such example of compositions in this later period is ‘Pierrot Lunaire.’ This is a melodrama that combines atonality with voice-overs intended to be performed by a soprano. Charles Ives Similar to Arnold Schoenberg, Charles Ives began his compositional journey producing works with traditional tonal qualities. His work in such early compositions as ‘Variations on America’ demonstrates this tonal concern. In Ives’ middle and later periods he gradually adopted a more experimental style based on atonality and experimentation. His work in ‘Symphony 2’ demonstrated a shift in this direction that would later be more fully realized in his mature work. As his work further developed in ‘The Unanswered Question’ and ‘Three Places in New England’ he adopts a nearly entirely atonal sound. These works build towards what traditional classical music would realize in a melodic climax, but rather than delivering this, Schoenberg returns to atonal dissonance. Igor Stravinsky Russian composer Igor Stravinsky explored tonality in a variety of his compositions. Among the composers examined, he is perhaps the most renowned for the fantastical nature of the reaction to his famed composition ‘The Rite of Spring’. The composition, written for a 1913 ballet was such an avant-garde experience that the crowd rioted. The composition itself, while exploring traditional tonality in segments, is largely an atonal work. Some of Stravinsky’s other famed compositions demonstrate a similar concern with these challenging elements of sound. For instance, his work on ‘Histoire du soldat’ demonstrated similar concerns with consonance. Stravinsky’s late period work would explore 18th century classical styles, yet reinterpret them with his characteristic experimental elements, meshing both tonality and consonance. Sergei Prokofiev Similar to Stravinsky, Prokofiev was a Russian composer who developed a number of works for the ballet. To a great degree his works reflected a similar concern with the avant-garde approach to consonance as did Stravinsky’s. Still, it is clear the Prokofiev did not entirely disregard tonality, as his compositions demonstrate strong symphonic structure. One can consider for instance his work on ‘Chout’ which contains a strong emphasis on form and tonal melody. Other compositions such as the ‘Fiery Angel’ represent a similar emphasis on tonal elements. While a challenging composer, he was ultimately appreciated by a wide spectrum of listeners, making him one of the most popular composers of the 20th century. Aaron Copland American composer Aaron Copland is different from many of the composers examined as rather than moving towards an avant-garde style, Copland began his work with experimental compositions and moved towards a more traditional and mainstream compositional sound. Some of Copland’s early compositions, as demonstrated in ‘Symphonic Ode’ and ‘Short Symphony’ demonstrate a modernist concern with the avant-garde and moving society in forward (Copland 1957). As Copland’s style would advance he would move away from this ‘intellectual’ sound to a more tonal approach. Perhaps his most renowned composition ‘Appalachian Spring’ would develop an entirely unique sound within the confines of tonal structure, producing a work of true beauty and power. Oliver Messian Oliver Messian was a French composer that incorporated avant-garde compositional elements to his works. While not entirely eschewing tonal structure, it’s clear that Messian’s compositions worked to redefine the natural traditional compositional patterns. Works such as ‘Prelude, Instant defunts’ incorporated palindromic rhythms. When considering Messian in relation to other composers the unintentional sounds that John Cage would advance can be seen in similar sonic relation. John Cage Standing outside easy categorization, John Cage was a 20th century American avant-garde composer whose influence has extend well beyond American society. His composition ‘Sonata #1 for Prepared Piano’ is highly important to music for its exploration of Cage’s chance style of composition where melody is disregarded for music or sounds made through chance. Another of Cage’s famous compositions 4’33’’ even went as far as to disregard the production of music, with the concept being that the sounds of the audience and environment were the focus of the composition (Taruskin 2005). Cage was highly influenced by early 20th century avant composers and represents another artist who produced works largely through consonance. Elliott Carter Elliot Carter is an American composer that explores both tonal and atonal compositions. Carter’s early work, as evidenced in compositions such as ‘Eight Etudes and a Fantasy for Wind Quartet’ would explore neo-classical elements. In these regards, Carter firmly embraced tonality. However, as his career advanced Carter would increasingly become interested in atonal compositions. This switch largely occurred in his post-1950s work and is evidenced in compositions such as ‘The Piano Concerto’ and the ‘Third String Quartet,’ both of which demonstrate a strong emphasis on consonance. Pierre Boulez Pierre Boulez was a French composer that would explore elements of consonance. While composers such as John Cage would develop sounds based on randomness, Boulez would attempt to foreground new song patters. For instance, in compositions such as ‘Le marteau sans maitre,’ Boulez attempted to implement serialism. In all the songs contain consonance (Scholes 1988). Peter Maxwell Davies Peter Maxwell Davies is an English composer. Whereas other composers have advanced works that explore singular style, incorporating specific elements of tonality or consonance, Maxwell Davies work embodies a sort of hybrid collection of styles. His work combines elements of both tonality and consonance in creating this unique sound. Consider compositions such as ‘Eight Songs for a Mad King’ that implements this hybrid sound. Other works incorporate both consonance and tonality in an opera format, including ‘The Martyrdom of St. Magnus’. In all it’s a contemporary mashing of the two approaches that sets Davies apart (Johnson 2002). References Copland, Aaron;(1957) - What to listen for in music. McGraw Hill.-10 Johnson, Julian (2002). Who Needs Classical Music?: Cultural Choice and Musical Value. Oxford University Press Kamien, Roger (2008) - Music: An Appreciation Sixth Brief Edition Scholes, Percy Alfred; Arnold, Denis (photographer) (1988) - The New Oxford Companion to Music. Oxford University Press Taruskin, Richard (2005, rev. Paperback version 2009) - Oxford History of Western Music. Oxford University Press (USA Read More