WVU Music 271 Podcast

4.16.07

April 16, 2007

Music 271: 4/16/07
I: Schönberg’s twelve-tone composition or Serialism (c1923-1951):
• Logical use of all 12 pitches of the chromatic scale
• Suite für klavier: Presents prime row right at the beginning and the top line
• Note = length of time
• Pitch = frequency
• Prelude, Menuett, and Trio
• His alternate row forms favor the tritone, one semitone below the P5

II: Bartók and Stravinsky: their separate points of origin in 19th century European art music:
• Bartók born in 1881: Went from Germanic nationalism for Hungarian nationalism
• Stravinsky born in 1882: Abandoned nationalism for neo-classicism (and dabbled in serialism)
• These two would change their direction as composers, unlike Schönberg

III: Bela Bartók’s multi-faceted career and its legacy:
A: Four major roles:
1. Virtuosic pianist: Educated to be a concert pianist and composer;
2. Ethnomusicologist: One of the first scholars to collect music of a tradition outside the realm of European art music (Hungary and Slavic Europe) (Bonds: p. 570)
3. Composer: 3rd stage Nationalist: “Allegro Barbaro” was one of the first compositions of this nature (1911), “Three Rondos on folk tunes” another example
• Large quantity of folk songs
• 3rd stage nationalist: Radical innovations of style and form inspired by the native culture (sometimes accompanied by a deprecation of the formerly venerated foreign culture)
4. Pedagogue: wrote the six volumes of Mikrokosmos, prepared performers to play Bartók’s own music
B: Three-fold legacy:


IV: Igor Stravinsky’s contributions to the formation of 20th century art music: Part I - Second-Stage nationalist (to the beginning of WWI):
• Came from a musical background
• Born in St. Petersburg
• First composition teacher was Rimsky-Korsakov: introduced Stravinsky to several volumes of Russian folk songs
• Rite of Spring Bassoon solo is a Lithuanian folk tune
• Went to Paris to study music

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