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Prelude Listening to Music Today
1 Melody: Musical Line
2 Rhythm and Meter: Musical Time
3 Harmony: Musical Space
4 The Organization of Musical Sounds
5 Musical Texture
6 Musical Form
7 Musical Expression: Tempo and Dynamics
8 Voices and Musical Instrument Families
9 Western Musical Instruments
10 Musical Ensembles
11 Style and Function of Music in Society
12 The Culture of the Middle Ages
13 Medieval Music
14 The Renaissance Spirit
15 Renaissance Sacred Music
16 Renaissance Secular Music
17 The Baroque Spirit
18 Vocal Music of the Baroque
19 Orchestral Music of the Baroque
20 Baroque Keyboard Music
21 The Classical Spirit
22 The Development of Classical Forms
23 The Classical Symphony
24 The Classical Concerto and Sonata
25 Classical Opera
26 The Spirit of Romanticism
27 The Romantic Miniature
28 Romantic Program Music
29 Romantic Opera
30 The Late Romantics
31 America's Emerging Musical Voice
32 The Impressionist Era
33 Main Currents in Early-Twentieth-Century Music
34 Early-Twentieth-Century Innovators
35 Nationalism and Music
36 Ragtime, Blues, and Jazz
37 New Directions
38 Contemporary Composers Look to World Music
39 Music for the Stage and Screen
40 The Many Voices of Rock
41 Some Current Trends

Chapter 33: Main Currents in Early-Twentieth-Century Music

Study Plan

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"To study music, we must learn the rules. To create music, we must break them." —NADIA BOULANGER

Key Points

  • Early-twentieth-century artistic trends explored simplicity and abstraction (interest in non-Western arts, Dadaism, Cubism) and the world of dreams and the inner soul (Surrealism, Expressionism).
  • Expressionism was the German response to French Impressionism; in music, composers such as Schoenberg and Webern explored new harmonic systems and the extreme registers of instruments.
  • The Neoclassical movement sought to revive balance and objectivity in the arts by returning to formal structures of the past.
  • Early-twentieth-century composers revitalized rhythm by increasing its complexity—using polyrhythm, polymeter, changing meters, or irregular meters.
  • Melodic style was often "instrumental" in character.
  • New concepts of harmony (polychords, polytonality, atonality) pressed music beyond the traditional systems of tonality, and led to the twelve-tone method (or serialism) devised by Arnold Schoenberg.
  • Linear movement replaced vertical, chordal conceptions, and extreme dissonance became the norm.
  • The early-twentieth-century orchestra grew smaller and focused on winds, percussion, and piano.

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