MUS- M 402 1st Edition Lecture 27Outline of Last LectureI. Sergei Diaghilev (1872- 1929)II. Expressionism and It’s Opposite Outline of Current LectureI. Identify the Four Musical Traditions that inform Ives’ compositionsII. Describe the Role Irony Plays in Ives’ Compositional Style Current LectureI. Identify the Four Musical Traditions that inform Ives’ compositions1. Protestant Hymnody- the use of Protestant hymns in Ives works1. These hymns were commonly known in America and used often in church. 1. Probably the very first musical tradition that we can identify in musical composition as “American”.2. Included hymns such as:1. Nettleton/Come Thou Fount (c1812)2. In Sweet By and By (Bennett/Webster, 1868)3. Crossing the Bar (Ives, c1894)2. American Popular Music1. Included songs such as: 1. Minstrelsy- songs written to reflect Plantation life in the South1. My Old Kentucky Home2. Oh Susanna2. American Parlor Song1. I Dream of Jeanie with the Light Brown Hair3. Tin Pan Alley1. On the Banks of the Wabash (Dressler, 1897)4. Band Music1. Dixie2. The Battle March to Freedom3. Stars and Stripes Forever (Sousa, 1897)3. Western Art Music- Ives studies this under the instruction of Horatio Parker1. This became the art form her used most in all his compositions.4. Experimental Music- “stretching the ears” with all sorts of new harmonies and experimentations…just to see what happens1. Presenting new material as a joke to audiences so they would receive andlisten to it in an unjudgemental manner.1. Seen in The Unanswered Question- written with 7 questions, but only 6 answers.1. Composed in three sections:1. Fighting Answers (atonal, flutes)2. The Perennial Question of Existence ( ? , Trumpets)3. Silences of the Druids (G major, Strings)II. Describe the Role Irony Plays in Ives’ Compositional Style1. Tonality- Ives sees that the language of Western Music must involve some atonality. He does this by re-hearing the language of traditional harmonies from the past. 1. Not completely atonal because Ives does se traditional harmonies that stem from traditional European art forms. Ives simply re-hears them in a way that is Western, reflective of American traditions, and new without being completely atonal and
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