Ask! Representative works and composers of modernist music

It refers to all western professional music creations from the end of 19 to the beginning of the 20th century. However, in the past 90 years, the styles and genres of western music are very complicated and the evolution is also very intense; From the perspective of historical style, modern music refers to works with special styles created in the 20th century, not all works created in the 20th century. Because some composers (such as свв rachmaninoff, J. sibelius, etc. ) wrote a lot of important works in the 20th century, but generally speaking, it belongs to19th century romantic music. Compared with previous romanticism and western traditional music, modern music has not only undergone great changes, but also diversified styles. Under the influence of modern economic, political, scientific and other artistic thoughts, the basic laws of western traditional music are broken one by one under the influence of the inherent laws of music art itself; In this process, due to the different ways and means adopted by composers, schools, composers and works have presented unprecedented complex features in history. In the past historical period, there was always a dominant music style, but in the 20th century, it was not uncommon for several different or even opposite music trends to develop in parallel. The change of music style determines the innovation of various elements in music. Modern music has made unprecedented breakthroughs in pitch, rhythm, timbre, dynamics and organizational structure. On the one hand, it has formed the main acoustic characteristics of modern music itself, on the other hand, the scope of music expression has also expanded unprecedentedly. Composers have obtained more and richer creative means, but these techniques often go beyond people's hearing habits and familiar musical thinking, and often have a deep gap with the audience and modern music. The symptom of modern music is the disharmony of sound. This can be seen in the works of many romantic composers in the19th century, such as F. Liszt, □ пппппппппппппппппппппп1 R Wagner, a German composer, most powerfully promoted the disintegration of classical major and minor modes and tonality functions, thus liberating dissonance (Schoenberg language). In Wagner's works, he used many semitone chords, and harmony was liberated from the bondage of modal tonic, and the traditional relationship between major and minor modes and tonality began to shake. Impressionist music represented by French composer Debussy is the most important school in the transition to modern music. Finally, the disintegration of classical tonality and harmony function was completed, which had an inestimable impact on the development of western music in the 20 th century. In impressionist music, dissonance intervals are used freely, almost reaching the status of being on an equal footing with concord intervals. Due to the extensive use of diatonic scale, church mode, parallel chords, unsolvable 79 chords, overlapping chords and other techniques, Impressionist music has greatly broken through the traditional musical rules in pitch organization. In addition, in order to pursue novel auditory effects, Impressionist music expressed emotions and atmosphere in dim light, broke the balance of rhythm, opposed formal symmetry and demanded transparency in timbre, all of which left the conventions and rules of traditional music in the past and opened the door to music in the 20th century. Except the unique French composer lavelle, many other composers, though not impressionists, were strongly influenced by impressionist music, such as Dickas in France, ottorino respighi in Italy, Dili'esi in Britain and M. de Faria in Spain. Expressionism and twelve-tone music followed impressionism, and they were completely different from impressionism in aesthetic thought and creative techniques. As the first school of modern music, expressionist music is. Expressionism is an art school that appeared in Germany before World War I, and became popular in Europe and America after the war. 19 1 1 Russian painter в kandinsky (1866 ~ 1944) and painter f mark (1880 ~19644). They believe that art should neither "describe" nor "symbolize", but directly express people's spirit and experience, that is, art should not "describe what is seen in front of objective eyes" but "subjectively express the attitude of objects in our eyes", that is, the author's inner world, the so-called inner spirit, is related to morbid feelings such as madness, despair, fear and anxiety. The representatives of musical expressionism are Schoenberg and his disciples A. Berg and A. von Wei Bain. They pursue absolute freedom in form and break the old tradition, which is in the same strain as expressionism in painting. Expressionist music is completely contrary to the old tradition, completely ignoring the tonality law of the past. Pay equal attention to the twelve semitones in the octave, abandon the traditional concepts of tonic and dominant, and let atonality occupy an absolute advantage. Because the old melody track is destroyed, the melody is neither balanced nor repeated, so it is just a series of unique sounds. In addition, the rhythm is elusive and the beat is ignored. Formally, it is very free, because it ignores the traditional methods of convergence, repetition and balance. However, based on the new theory, it has unique, fluid and infinite development. In counterpoint, there is a feeling of breaking away from traditional harmony and becoming a complex and free melody line, which is also called linear free counterpoint. In the method of band arrangement and orchestration, it is different from the huge structure and sound exaggeration pursued by romanticism in the later period, but adopts exquisite and simple small arrangement, which often has obvious chamber music color. Its color is not as mysterious as impressionism, but simple, bright and strong. Schoenberg's early singing "pierrot of the Moon Fan" and his one-man play "Expectation" are both typical expressionist works. The former is based on the poem of the decadent poet A. Giraud, which describes various scenes in the full moon fantasy of a neurotic poet pierrot, from the gallows to the crazy lust of the old woman, from the dreamer becoming a priest himself, presiding over a "bloody mass", taking out a bloody heart and praying for God's blessing. The whole work is full of horror, madness and grotesque content. "Expectation" tells the story of a woman walking through a dark forest looking for her lover, only to find her lover's body. Schoenberg asked the audience to know that she was full of fear of the forest during the performance, and the whole performance should not make people lose the impression of nightmares. In these works, Schoenberg not only uses the counterpoint of atonality and dissonance, but also uses the extremely exaggerated intonation melody, which is called "singing in plain English". As a representative work of expressionism, Berg consists of two operas: Wozek, Lulu and Violin Concerto. "Wozek" is adapted from an unfinished tragedy by German writer G. Bischner in19th century. It describes a barber in a military camp, Wozek, who works as an "experimental animal" for a doctor at a low price of 3 cents a day to feed his wife and children. When he was poor and humiliated, Mary was cheated by an officer. Wozek killed her in disappointment and pain and threw herself into the lake. This tragedy reflected the darkness of German feudal society to some extent, and gave sympathy to those who were insulted and damaged. However, due to the excessive psychological depiction of jealousy, despair and madness, it also reflects the morbid and neurotic negativity of expressionism. The further development of Schoenberg and Berg's expressionism in musical thinking is the basis for finding logical unity in free atonal music. Intuition and sensibility cannot guarantee the coherence and unity of atonal music, but must rely on rational constraints, which produces twelve-tone music. Schoenberg divided the twelve semitones in the scale into several musical systems, and each sound in each musical system was neither repeated nor continuous. This composition technique based on "music sequence" and its various variants enables composers to give full play to their creativity in a limited scope, and at the same time ensures the structural unity of atonal music works (especially large-scale works). It may be the most unique musical thinking mode after the disintegration of traditional tonal thinking. Schoenberg, Berg and Wei Beien all proved the possibility of this kind of thinking in music with their own practice. 1923, Schoenberg began to use the creative skills of twelve-tone music in five piano pieces and some paragraphs of chamber music serenade with solo. Berg composed violin concerto and opera Lulu with twelve-tone music. Wei further developed twelve-tone technique of Schoenberg into a "prelude", and later extended it with his successors, combining it with melody, rhythm, dynamics and timbre to form a so-called "full prelude". In his later years, Wei created "pointillism", which was separated by many short sounds and sound groups with rests, like a picture of "pointillism". His major works include Variations on the Piano (Op.27), Six Melody (Op.9), Variations on Orchestral Music (Op.30) and many original music. After the First World War, neoclassical music, on the one hand, many experimental schools and ideological trends appeared in western music (such as Italian futurism and differential music of Czech composer A. Bach, etc.). On the other hand, some important composers have experienced a relatively stable style development process. New aesthetic concepts and musical thinking emerge one after another. From the early 1920s to 1950s, neoclassicism was the most influential school of music. Neoclassicism denies the title and subjectivity of romantic music, and also denies the exaggerated fantasy and performance of romanticism and expressionism in the later period. Neo-classicism advocates that music creation does not need to reflect chaotic society and politics, and should adopt a position of "neutrality" or "art first"; Creation should return to "classicism" and "the era farther away from Bach", where there is the pure beauty of music (without poetry or painting, etc. ); Composers should get rid of subjectivity and reproduce the classical balanced form with calm and objective modern methods. Neo-classicism, as a system, had an influence on later generations, represented by Italian composer F busoni and Russian composer I F Stravinsky. Busoni believes that music should maintain a strict objective spirit and a neutral attitude, and classical counterpoint techniques and classical forms such as Yuphakdee Tower, Grand Concerto, Tocata, Passacaglia and Riseka are the best ways to practice this theory. After Stravinsky published the declaration of "Returning to Bach" in the British magazine on 1927, a neoclassicism upsurge was set off. Busoni's Comedy Overture and Piano Sonata are typical works in the early neoclassicism, but the most typical ones are Stravinsky's Ballet, Apollo, Kiss of the Fairy, Poetry Symphony and Piano Concerto. Some of these works are selected from ancient myths and stories, and some use medieval religious themes. Musically, they tried to imitate the style of ancient music and combined it with modern technology, thus forming a new style of imitating ancient music. Neo-classicism advocated by busoni and Stravinsky had a far-reaching influence on many outstanding modern composers. The string quartet and violin sonata No.1 written by French six-person group A. Oneig in his early days, as well as his later works such as chamber music concerto, unaccompanied violin sonata and Akay Suite, have obvious neoclassical features in the concept and structure of music. The profound content and elegant and rational expression of his symphonies reflect the characteristics of classicism. D. Mi Yue, another composer of the Six-member Troupe, although his early works were influenced by late romanticism, among them, piano sonata (19 16), symphonic suite Prode and piano collection Brazil Sodado (19/kloc-0). String quartet 14 ~ 16, as well as many symphonies and piano concertos, all have obvious neoclassical characteristics. Many of F. Planck's mid-term works, such as French Suite (1936), two piano concertos, orchestra concerto in G minor (1939), piano and wind sextets and piano, oboe and bassoon trio, can all be classified into this category. German P hindemith, though known as the representative of neo-objectivism, established a new system on the theory of harmony. But he has never been far away from the traditional tonality and harmony organization. He wrote many modern fugues and used fresh and accurate counterpoint. He is good at combining classical genre forms with new musical vocabulary. Hungarian Bartok and Kodaly are both neo-nationalists. The former applies the theme of national music instead of simply copying it. Instead, they decomposed the elements of tonality, rhythm and tune, and carefully incorporated them into their own unique musical grammar. His Music for String, Percussion Instrument and Piano (1936), Sonata for Double Piano and Percussion Instrument, Violin Sonata, Piano Concerto No.3 and Orchestral Concerto are all typical neoclassical works. While using Mazar folk songs, Kodaly tried to make the language and melody closely combined and approachable. For example, the orchestral suite Harry Ianos, Dance of Galanta, Orchestral Concerto, String Quartet No.1 and No.2 and unaccompanied cello sonata are its representatives. ссссд prokofiev and дд Shostakovich of the Soviet Union combined modern, national and social thoughts with classical and serious rational thinking, greatly expanding the category of neoclassical music styles. Lavelle, a French composer, used a lot of exotic modes from ancient times to Spain, China, Arabia and Greece, avoiding natural scales and empty intervals of four or five degrees, and became a family of his own. But his ingenious technique, clear theme, classical triad system and respect for classical forms can also be classified as neoclassicism. Comprehensive Sequence Music and Speculative Statistics Music If there were only a few schools of modern music before the Second World War, then the post-war modern music was complicated. As the first important stage of the development of modern music after the war, sequential music prevailed. Inspired by some more radical creative practices of Schoenberg's twelve-tone technique and Wei, composers began to integrate all elements of music (including pitch, duration, volume, timbre, starting method, etc.). ) into the serial computing network. Therefore, all elements of music are equally important, and the generation of structural organization in music depends entirely on strict mathematical calculation. This tendency is caused by the extreme rationalization of musical thinking. Mei Xian, a Frenchman, had the greatest influence in theory and practice. The four rhythmic etudes written by 1950 and the organ ditty written by 195 1 began the whole sequence. Mei Xian's disciple, the French composer Bryce, further developed Wei's stippling structure and became a more complex sequence music. In particular, it emphasizes the rhythm mode, exhausts the rhythm cells to the end, and excavates the ever-changing rhythm organization as the pillar of the music structure. This is the boldest attempt since Stravinsky's Dedicated to Spring. 1. Another student in Mei Xian, Kaisenakis (1922 ~), based on Mei Xian's theory, tried to achieve the combination of music and architecture, music and mathematics, music and philosophy, and showed a new musical ethics. He regards most of the instruments in the band as solo groups that exist at the same time and are independent of each other. Through this "sound group", high-density "sound particles" are produced, resulting in a wide and extremely flowing sound. This "sound group" formed by mosaic structure has the sound power like a rainstorm washing away buildings and thousands of frogs singing in the fields, which is called "general concept". Kesenakis also believes that when listening to music, listeners often perform an unconscious calculation behavior. This has not only been discussed by ancient China and Greek philosophers, such as the various relationships between sounds and numbers, but even in classical and romantic times, all kinds of mathematical calculations were hidden in music. Starting from this theory, he established a unique music theory of speculative statistics, which was later closely combined with the application of electronic computers. French M.P. filippo (1925 ~) and Japanese Gao Qiao Yuji (1938 ~) are engaged in this research. Uncertain music and accidental music are contrary to rational and mathematical sequential music and speculative statistics. In 1950s, accidental music represented by American composer J Cage and uncertain music represented by German composer K Stockhausen appeared. Accidental music is different from other modernist music. It is not a technique, but an expression of thought and music view, which originated from China's Yijing and Zen Buddhism, especially mysticism. In this kind of music, Cage even regarded silence as music, and many composers once regarded pause in music as silent sound. But Cage equates the silent sound with the sound of sound, and even takes it more important than sound, which is unprecedented. Cage's silent work "4 minutes and 33 seconds", during the performance, only the pianist opened the piano cover and stayed in front of the piano for 4 minutes and 33 seconds. Cage thought that the piano was silent at this time, but there were various reactions in the audience. 1953, composer H. Eimert produced the early electronic music "Sound Combination Practice" in this radio station. But the biggest influence in this respect is Stockhausen. 1954, he produced two electronic etudes and recorded them into records. In this work, he made 193 kinds of sound materials with sine waves, which had a great influence on European and American composers. 1956, he produced Song of Teenagers No.8, which combined electronic sounds with specific sounds (Song of Teenagers) and became a masterpiece of early electronic music. The production of electronic music is to obtain various new sound sources through electronic technology. It either uses sine waves to produce so-called pure tones without overtones, or uses percussion instruments and noise instruments to make noise. It also uses human voice or combines with specific music to deform, deteriorate and change it through sound filters and response equipment, and then splicing, regenerating, compounding and forming works through other electronic musical instruments and recording technologies. Using these electronic technologies, producers can arbitrarily combine all kinds of strange sounds and changeable rhythms, create a range and speed that vocals and musical instruments can't reach, and also create all kinds of illusory sounds in the imaginary universe. In the early 1950s, after various calculations, electronic music was produced. At the end of 1950s, electronic voice synthesizer appeared, which can directly control timbre, rhythm, dynamics and timbre. Producers can make all kinds of wonderful music by selecting the application button. Electronic music research institutions are mostly located in radio stations and electronic laboratories of some universities. The famous ones are: Southwest Radio of the Federal Republic of Germany, NHK Radio of Japan, Milan Radio of Italy, Berlin University of Germany, University of Illinois of the United States, University of Torrecht in the Netherlands, University of Toronto of Canada, Jimmings Company of Munich, and Columbia-Princeton Electronic Music Center of the United States. There are many composers engaged in electronic music, including German E. Krenek, French C.-A. de Beriau, E. Varese, American O. Runin, M. Babbitt, V. U. Sacevski, Dutch H. Badings, Japanese Takei, Panasonic Shinichi, Toshir? Mayuzumi, etc. Electronic synthesizers include M. Subotnik and Japanese Isao Tomita. They have successfully produced a lot of electronic voice synthesizer music adapted from classical music, while S. Marttila Nuo used electronic computers to make music. With the rapid development of electroacoustic and electronic music, American electronic music composer V. U. Sacevski and his electronic instruments appeared space music in 1950s and 1960s. It separates all kinds of sound sources through multi-channel audio equipment, and then reproduces them from all directions, thus creating extremely rich and wonderful timbre and sound effects. As early as the beginning of the 20th century, American C.E. Ives used two sets of wind instruments, playing from the left and right sides and moving towards the center. Then cross, and then separate to the left and right, resulting in a sense of space flowing sound. In space music, many speakers are installed in different directions, so that the audience can not only clearly hear the changing level of polyphony and orchestration, but also clearly feel the combination and separation of various sounds. These sounds can appear in all directions or designated directions through multi-channel speakers, and can also move in any direction individually or as a whole. 1970, at the World Expo in Japan, the spherical hall "Odtoriam" of the Federal Republic of Germany Pavilion and the circular concert hall "Space Theater" of the Steel Pavilion all had such equipment and devices. The conversion of quality and quantity of this space music is completely controlled by electronic technology; Only works compatible with this technical system can be used as tracks of space music. New exploration of concrete music and sound. At the same time, musical thinking is becoming extremely rational. Almost all radical "avant-garde" composers are not only keen on finding new timbre and sound experiments in traditional instrumental music and vocal music, but also do many experiments on noise. As early as the 1920s, futuristic noise music appeared in Italy. In 1930s, the Frenchman Varese made various experiments on percussion, which was called "percussion doctrine". After World War II, recording technology reappeared, taking all kinds of specific sounds in daily life as materials, and after complicated processing, it became "figurative music", which was different from the music that people used to play with beautiful music. The specific music was made in 1948. P. Schaefer, an engineer of Radio Paris, collected the noisy sounds in real life for the first time, such as the sound of wind and rain, the roar of trains, the howling of animals, the whispering of men and women, the sound of bells and whistles, and changed their timbre and intensity through electronic technology, or accelerated, decelerated, reversed and compounded the tapes, and repeatedly operated them on the same track to make railway etudes, record etudes and. /kloc-in 0/950, he collaborated with French composer P. Henry to compose a single "Symphony", which made sounds inside and outside the human body (such as breathing, chanting, shouting, whistling, stepping, knocking at the door, playing the piano, etc. ) into concrete music with multiple movements. 1953, at the Modern Music Festival held in Danauer Schengen, Germany, they produced a large-scale opera "orpheus 53" with a strange sound by adding various noises, Harper Secord, strings, arias, Greek and French according to Greek mythology. Because the sound material of specific music is infinite, many composers used this technology in the 1950s. After the rise of electronic music, it is closely integrated with electronic music. In addition, it is also combined with traditional music. After 1950s, apart from the popularity of figurative music and electronic music, the development of timbre and acoustics of musical instruments and voices often became the most concerned fact for composers. Non-traditional playing methods of traditional musical instruments have been continuously invented, and the instruments used have begun to expand to an unprecedented range, including oriental musical instruments and newly invented musical instruments. As early as after the First World War, Bartok and Hendry regarded the piano as a percussion instrument, while Wei used a variety of special string playing methods in his string quartet. In his piano variations, he also used a lot of "stippling" with pauses and rests. H Cowell of America (1897 ~1965) used "bunching" as early as the early 20th century (a playing method of pressing multiple keys with hands, arms or wooden sticks at the same time), and he also created the electro-acoustic keyboard instrument "Ritmikan". Cowell is engaged in the research of non-western music, using not only pentatonic and atonal music from Iran, Persia, Japan and Ireland, but also the internal plucked piano playing method. On the other hand, Hungarian G Ligethy (1923 ~) used the "sound cluster" playing method on the organ and created extremely magnificent music. The late Polish composer K Pendeletsky made a lot of explorations on the sound of instrumental music. In "Elegy for the Victims of Hiroshima" written by him on 1960, he used the slip play of the difference notes to fuse the difference notes on the musical instruments into clusters and create a dynamic sound structure. The development of human voice had a greater development in 1950s. The "white singing" in the expressionist works such as pierrot in the Moon Fan written by Schoenberg 19 12 was out of date for composers in 1950s, who were constantly exploring the greater possibility of human voice expression. It has long been common for electronic music to transform human voice into various amazing sound effects. Penderecki not only used the combination of musical instruments, he even used the combination of human voices. Many composers not only use people's songs, but also use other voices (crying, laughing, sighing, shouting, etc. ) what people make in life. Besides human voices, composers also study the sounds of animals. Mei Xian emphasized the rhythm function of music, and finally found his own new world from birdsong, and wrote all kinds of music about birds, from which he got very rich rhythm changes. G.H. Cram (1929 ~) was inspired by the sound of whales. He recorded the sound of whales in the Columbia Sea as music material. Another American composer, A Huo Fan Ness (19 1 1 ~), wrote So God Created Great Whales, in which strings with uncertain rhythm depict waves, bass brass depicts the sea, and recorded whale sounds become the "protagonist" of the work. In addition to pursuing various timbres in instrumental music and vocal music, the pursuit of strength has also undergone unprecedented changes in the 1950s. Ligeti believes that timbres and strength should replace melody, rhythm and harmony in music. The atmosphere written by 196 1 is based on PPPP-MP, but its development has increased to the strength of ffff. Sometimes the band plays like it is completely silent, and sometimes it is strengthened to 87-part chorus. S Reich (1936 ~) in the United States is interested in the changes of the duration and beat interval of each part, forming interesting music; French J.-C. Eloy (1938 ~) deals with complex musical instruments in terms of timbre, range, density and continuity, and produces strange sounds. While exploring various new sound sources, mosaic music and combination music have also produced various new techniques in the structural form of modern music. More prominent are mosaic music, combination music and event works. Mosaic music is a new kind of music which is composed of different styles and kinds of old music works according to certain ideas. As early as 19 13, Ives of the United States applied пи Pyotr Il'yich Tchaikovsky's Symphony of Pathetique, J Brahms' Symphony No.2 and L.van Beethoven's Symphony No.9 in his second string quartet. But as a genre, it was gradually formed after the Second World War. Represented by Italian composer L. Beriau. Inspired by modern drama, he used distinctive voices as musical language materials, trying to create an artistic conception between music and poetry. 1972, he published Solo No.1 for Kathy, using lyric songs and opera arias of G. Verdi, J. S. Bach, F. Schubert, H. Wolff, G. Mahler, lavelle, Mi Yue, Planck, Stravinsky and G. Bizet. In addition, Bob Berian gave a live performance, which constituted a musical. The score is divided into three parts: singing and preaching, band and piano. Each part keeps an independent beat, which constitutes the superposition and movement of music levels. This is a kind of music that is quite different from the traditional aesthetic concept. In his later works, Beriau prefers the combination music composed of uncoordinated, unbalanced and irrelevant materials. His so-called "overlapping mosaic", such as Epifani, is a work in which two pieces with different styles are played at the same time. Encounter, written by Japanese Maki Ishii, is a work that combines piano music with shakuhachi music, orchestral music and elegant music. Event works expand the combination music, and there is an independent acoustic phenomenon or visual behavior in space, which constitutes the so-called "event works" through free combination or handover. It aims to transform space art into time art, and the representative figure is Stockhausen. 196 1 created a musical called "prototype", and the music used was the cantata he composed for electronic organ, percussion instrument and piano in 1960. The performance of the work is the synthesis of a series of inorganic shots: "the roar of the stage supervisor, the romantic young woman changing clothes in front of the mirror, the violinist playing modern music while blowing the siren, and the photographer and the audience taking these shots together and projecting them on the screen;" Later, the drama actors began to speak, and the music reached its climax; It soon became the voice of an old woman selling newspapers, and avant-garde female painters painted on the canvas and burned it after painting; The stage supervisor carefully read stanislavski's Code of Actors, and the poet recited obscure poems written in more than 20 countries' languages ... Finally, the harmony at the end of the oratorio appeared, the flash lights flashed everywhere, and everyone left, only to hear the female singer humming pop songs in the depths of the stage ... "The score of 90 minutes was" played "like this. The music score records the various hints of the characters appearing on the stage.