Part Two: Twentieth Century Music

Project One: 1900 – 1945

After studying a range of musical styles such as minimalism and new complexity in the previous module, I am very keen to embark on the challenge of learning more about these styles and important movements in music.  Below are some brief notes on each style as I encounter them in the course material.

Research Point:  Impressionism

Much like the Impressionist movement in the art world, musical impressionism is focused around not ‘capturing the subject’ but invoking strong moods or atmospheres.  However unlike its ‘Romantic’ counterpart, Impressionism seems to be slightly more focused on idea of minimalism which appears later in music history.  It is clear from listening to pieces within this range that the compositions are less about portraying the emotions of the piece, but more on creating an ‘environment’.    See my listening log for further details of individual pieces.

Research Point: Folk and Rhythm

Whilst Stravinsky’s ideas around rhythm may have been controversial at the time, they have undoubtedly opened doors for later composers to experiment with ideas of changing and variable metre.  In today’s music, a regular and steady rhythm is expected by the listener, however genres such as drum and bass rely on the idea of varying ‘pulses’ to create changes in movement.    However, Stravinsky’s ability to draw on, and include, influences of traditional folk music creates a completely different and unique sound. 

My research on individual pieces can be found in my Listening Log.

Research Point: Pitch Organisation

Schoenberg’s ideas around atonality and pitch organisation served to blend modern and traditional ideas of composition.  His thoughts on atonality and tropes have provided a way for musician to escape the confines of the diatonic system and his twelve-tone technique provides an introduction to serialism. 

Schoenberg - Du lehnest wider eine Silberweide Op.15 (1909) found on Spotify

Believed to be Schoenberg’s first truly ‘atonal’ composition, I found this piece to provide an excellent insight into how the atonality of the piano was contrasted against the more melodic vocal section.  I found the atonal piano piece to be somewhat reminiscent of tense film score, using sharp chromatic patterns to create drama and darkness.

Exercise: Impressionism, rhythm and pitch

Research of pieces by Debussy, Stravinsky and Schoenberg can be found in my listening log with particular reference to the rhythmic and harmonic value of each piece.  Whilst listening to these pieces I discovered a number of differences and similarities in styles and techniques.    It is clear, even with Schoenberg that ‘musical convention’ has bled through in one way another.  The diatonic system appears in all three of these pieces, however it is how they are blended with more modern and innovative ideas that create something quite different. 

Although I would consider Jeux to carry the most ‘traditional’ feel to it in terms of the use of instruments and technique, the use of rapidly changing tempo marking and repeating motifs helped to maintain a constant feeling of tension and drama.  In much the same way, Stravinsky contrasted repeating chord sections with bi-tonal sections to create a deep and rich texture.  Schoenberg too had amalgamated tonal and atonal sections creating a very ad-hoc sound.   However, due to the constantly changing feeling of Pierrot Lunaire, I feel that each section was almost a piece within its own right.

Overall, it is clear to see that these three pieces have one main thing in common: innovation.  Debussy, Stravinsky and Schoenberg have all used their traditional musical backgrounds to push and define new boundaries.  Whether experimenting with rhythm, pitch or musical ideas, each composer has used a variety of techniques and instruments to achieve something, which although may not be popular with all audiences, has ultimately shaped the way music is viewed today.