Professional Documents
Culture Documents
I. Americans
A. Introduction
1. During the first decades of the twentieth century, the most notable changes in music—
or at least those that had the largest impact on the greatest number of people—were in popular
music.
2. Jazz, which had been evolving for some time, became such an important style that the
1920s are called the “Jazz Age.”
3. The dissemination of popular music through electronic means was a chief spur in the
growth of popular styles.
4. A largely improvised idiom, jazz’s origins came be found in several places: ragtime,
the blues, and the call-and-response techniques associated with African American music.
a. The opening of St. Louis Blues (1914) demonstrated these elements.
b. Performed by Louis Armstrong and Bessie Smith.
c. The melodic delivery moves between pitches, some lower and some higher.
These are blue notes.
II. Surrealism
A. Surrealism: Satie’s Parade
1. American music grew in popularity throughout the 1920s and ’30s.
2. The divide between high and low music grew as well.
3. In 1917, the Ballet Russes performed Parade by Satie (and Cocteau).
a. The work deliberately brings the theater experience to a lower level than
audience members expected, as it is akin to a sideshow at a vaudeville theater and features
carnival performers.
b. It was not favorably received, because the audience expected ballet to be
“high” art.
4. Satie and Cocteau avoided any conventional attempts to astonish or impress, but rather
celebrated normalcy.
a. Realism (and antirealism) and tribute to the film industry are aspects of Parade.
b. Even though the score includes “ordinary” sounds, their use in such a work is
far from ordinary.
5. Apollinaire noted the “clarity and simplicity” of Parade that elevated French music
above German.
a. He coined the term “surrealism” to describe this realistic work.
1) It essentially described a collage of ordinary things.
D. American Surrealism
1. Virgil Thomson represents surrealism in America.
a. He too studied in Paris.
b. He was there at the same time as F. Scott Fitzgerald and Hemingway.
c. These expats are known as the “lost generation.”
2. Gertrude Stein, also a member of their circle, was interested in “stream of
consciousness,” which is governed by free association.
3. Thomson’s Four Saints in Three Acts is representative.
a. He uses Southern Baptist hymns in an opera—this in and of itself is surreal.
4. Like Stein, Thomson was interested in the interplay of sound and meaning.
a. Tonal illustration is not necessary, like Stein’s freedom of syntax.
b. Accompaniment is functional, if at all, and a collage of musical elements.
5. Thomson’s Surrealism represents the lost generation finding themselves after the
devastation of war.
III. Opera
A. Music in the Weimar Republic
1. Germans struggled with identity after World War I. There were several different
responses, including that of Schoenberg and twelve-tone technique.
2. Another alternative was New Objectivity, a foil to the Romantic make-believe.
3. Zeitoper represents an interest in popular, relevant, and communicative art.
a. It is practical, about what is going on now.
b. Krenek’s Jonny spielt auf (1927) is an example.
4. A related idea to Zeitoper is Gebrauchmusik—music for use.
5. The main proponent of this was Hindemith.
a. His early works are Expressionistic and scandalous, but he moved toward the
ordinary and topical.
b. The instrumental works also reflected a relationship with the contemporary and
popular elements.
c. The 1920s saw his ironic and Modernist period.
B. Berg’s Wozzeck
1. Because they were timely, the operas discussed earlier fell out of the repertory as time
moved on.
2. Berg’s Wozzeck has had the best staying power of the German operas from the 1920s.
3. Wozzeck combines elements of Romanticism and Expressionism with ideas from the
1920s: post-war disillusionment, irony, political critique, archaic musical forms, and popular
culture.
4. Atonal and disturbing, the work was nonetheless an international success.
a. The story was relevant in the post-war era.
b. It unfolds not unlike a movie.
c. The shocking violence was familiar from Italian verismo.
5. The orchestral writing is colorful and inventive.
6. It includes prominent leitmotifs.
7. Some of the popular idioms used include folk songs, marches, and waltzes.
8. Berg also draws on instrumental genres and forms, such as pavane, gavotte, etc., but
they do not necessarily fit classic definitions.
a. The second act is actually a five-movement symphony.
9. As in the Lyric Suite, hidden devices carry personal meanings in the opera.
a. Passages from the Bible, and Mary Magdalene, are associated with the
character Marie.
b. Berg also draws on the idea of an “Invention” (á la Bach) in each scene in Act
III to dramatize the obsessions of the title character.
10. Atonal music is a representational device for physical or psychological abnormality.