Readings—

• J. Peter Burkholder, A History of Western Music
• Chapter 33—Between the Wars: Jazz and Popular Music, pp. 855-876
• Chapter 34—Between the Wars: The Classical Tradition, p. 900
• Chapter 35—Postwar Crosscurrents, pp. 906-956
• Chapter 36—Music since 1970, pp. 957-986
• J. Peter Burkholder, Norton Anthology of Western Music, Vol. 3 (NAWM)
• NAWM 169-172, 183-205, pp. 214-280, 500-930
• Smithsonian Collection of Classic Jazz booklet—MCD S661c or M12 S661c
• The Recordings—notes on all SCCJ recordings from the Encounter 6 Listening List
• Piero Weiss & Richard Taruskin, Music in the Western World: A History in Documents (RESERVE)
• Anti-Romantic Polemics from Stravinsky’s Autobiography, pp. 460-465
• Schoenberg on Stravinsky, Stravinsky on Schoenberg, pp. 465-467
• John Cage, The Music of Chance, pp. 522-525
• Josiah Fisk, ed., Composers on Music (RESERVE)
• Schoenberg, The Composition with Twelve Tones, pp. 240-245
• John Cage, various writings, pp. 379-387
• Philip Glass, Minimalism and From Soundpieces: Compositions, pp. 466-468
• Steve Reich, Writings on Music, 1965-2000 (RESERVE)
• Early Works (1965-68) pp. 19-25
• Music as a Gradual Process (1968), pp. 34-36
• Electric Counterpoint (1987), pp. 145-147
• Non-Western Music and the Western Composer (1988), p. 147-151
• [Steve Reich on John Adams, Philip Glass, and Arvo Pärt], pp. 233-235
• John Adams, Doctor Atomic pages on the John Adams website (www.earbox.com)
• John Adams, Short Ride in a Fast Machine page on the John Adams website (www.earbox.com)
• Kaija Saariaho, Prisma CD-ROM (RESERVE MCD S112p)
• Tan Dun, Ghost Opera page on the G. Schirmer website

I. Neoclassicism vs. Twelve-Tone

From the 1920s to the 1940s, one of the most heated battles of the 20th century raged between two pitched camps: the neoclassicists and the twelve-toners. Much like Brahms and Wagner in the previous century, Stravinsky and Schoenberg became the figureheads in this controversy, drawn into a struggle that neither one relished. As the “minority leader,” Schoenberg was often vicious in his attacks on the neoclassicists, though Stravinsky’s quick, acid wit was equal to the challenge.

Stravinsky & Neoclassicism

• Weiss & Taruskin, Music in the Western World
• Anti-Romantic Polemics from Stravinsky’s Autobiography, pp. 460-462 (390-92 in 2nd ed.)
• (see Blackboard Assignments module/Encounter Readings/Encounter 6 Readings)

Schoenberg & the Twelve-Tone Method

Written the year before his death, Schoenberg’s article below spells out many of the essential concepts that underlie the twelve-tone method. Read the following excerpt.

• Fisk, Composers on Music
• The Composition with Twelve Tones, pp. 240-245
• (see Blackboard Assignments module/Encounter Readings/Encounter 6 Readings)

Stravinsky vs. Schoenberg?

• Weiss & Taruskin, Music in the Western World
• Schoenberg on Stravinsky, Stravinsky on Schoenberg, pp. 465-467 (394-95 in 2nd ed.)
• (see Blackboard Assignments module/Encounter Readings/Encounter 6 Readings/Stravinsky, Dialogues and a Diary)
• Stravinsky, Dialogues and a Diary excerpts
• Stravinsky on Schoenberg
• (see Blackboard Assignments module/Encounter Readings/Encounter 6 Readings)

As you can tell from the Weiss/Taruskin excerpts, the controversy raged on while both composers were still alive. But note the change in Stravinsky’s tone in Dialogues and a Diary, written some 17 years after Schoenberg’s death. After reading these excerpts, write a paragraph that answers these questions.

• Compare the philosophies of these two composers with regard to these questions:
• What is music’s purpose? (communication? self-expression? to further the art of music?)
• What does (can) music express?
• What was at the heart of the controversy between the neoclassicists and the twelve-tone school?
• What do you believe are the most significant differences & similarities between Stravinsky & Schoenberg?

II. Kaija Saariaho, Prisma CD-ROM

One of the most intriguing composers to emerge in recent years is Kaija Saariaho. She and several of her classmates from Helsinki Conservatory (including composer/conductor Esa-Pekka Salonen) have gone on to international careers. A decisive phase in her career was the time she spent at IRCAM in Paris (Institute for Music & Acoustic Research and Coordination), one of the world’s leading facilities for electronic composers. Many of the software tools Saariaho uses were created at IRCAM, and the research done there has profoundly affected her thinking, even in her purely acoustic (non-electronic) works. Few of her works are purely electronic, however; she is especially interested in the interactions between live performers and electronic sounds.

Explore Saariaho’s Prisma CD-ROM (RESERVE MCD S112p). Please note that this package contains two discs: an audio CD entitled Private Gardens and a CD-ROM entitled Prisma. Choose the CD-ROM for this exercise. To access the program on this disc, look for the program entitled Prisma.

This software contains five different modules, briefly described on the back of the CD case. Browse through a few of these modules. You are welcome to explore any that look interesting, but to answer the questions below, you especially want to look at the module entitled Spectra (the red one). This module focuses on the role of electronics in Saariaho’s music. Here are just a few suggestions for getting around in the Spectra module. When you first open the module you will sit through some introductory comments by Jean-Baptiste Barrière. When he’s done, move the mouse around the screen and menus magically appear when you pass over specific objects. There are six areas to explore:

• Space (move the mouse over the left speaker)
• This describes spatialisation, the ways Saariaho positions and moves her electronic sounds in the performance space
• Sound Material (move the mouse over the computer screen)
• This describes the ways Saariaho creates and works with electronic sounds, including analysis, synthesis, filtering, and studio processing
• Real Time (move the mouse over the microphone)
• This describes the techniques Saariaho uses to process sounds in the performance itself
• Writing (move the mouse over the manuscript paper)
• This describes the ways Saariaho uses music notation in her work
• Medium (move the mouse over the mixing board)
• This describes the ways Saariaho uses media such as magnetic tape or sampling
• Places (move the mouse over the coffee cup)
• This describes how Saariaho works at the studio and at home

Once you’ve finished looking at Spectra, use the information you found there to write a one-page report that answers these questions:

• What kind of “analysis” is described in the Sound Material section? What software does she use for this purpose? Why is this so important to Saariaho’s compositional process?
• In your own words, what do the following terms mean as they apply to Saariaho’s music?
• Cross-synthesis
• Sound processing
• Spatialisation
• Amplification
• Temporal expansion
• How do you reconcile this technological sophistication with the fact that Saariaho describes herself as an intuitive composer?

Listening Assignment 6

Postwar Crosscurrents & the End of the Millennium

The listening portion of the 20th Century Unit (Final) Exam will be in two sections. The first is based on Encounter 6 listening; the second will cover the whole semester (see further instructions in the 2011 Final Exam Study Guide).

For the Encounter 6-based section, I will play excerpts from the Final Exam Listening List below. For each excerpt you will identify the following features:

• Composer, title, & section
• Overall style—see list below
• Genre—see list below
• Important musical features (heard in the excerpt) of:
1. the overall style
2. the composer’s style
3. the piece itself
• Remember! Style features describe how a historic style, composer, or musical work typically use specific elements of music—melody, harmony, rhythm, texture, color, instrumentation, form, etc. This is also a good place to identify distinctive uses of electronic instruments or techniques (as aspects of texture, color, or instrumentation)
• Answer further questions drawn from Study Questions for this encounter
• For any work with words, dance, video, or a program, this is the place I might ask about the “dramatic situation,” how the work reflects political/historical/current events, etc.

Before you listen, use Encounter 6 readings to guide your understanding of characteristic features of the styles listed above. Use your listening report to help you identify these features as you listen. As always, you really want to read the NAWM notes and follow the score for every work from NAWM.

Each cluster of works listed below is accompanied by a set of Study Questions. The Study Questions and recordings together will halp you prepare for the Final Exam. They require no written report. As always, you really want to read the NAWM notes and follow the score for every work from NAWM.

Encounter 6 Listening List

Postwar Crosscurrents

Blues, Jazz, Film & Mass Media, Gershwin & Bernstein

Jazz Roots & Jazz

Blues

A) NAWM 170—Bessie Smith, Back Water Blues (blues song)

• Performed by Bessie Smith and James P. Johnson (rec. 1927)—CD12, track 82

Early Jazz

B) NAWM 171—King Oliver, West End Blues (blues song)

• Performed by Louis Armstrong and His Hot Five (rec. 1928)—CD12, tracks 83-87

Swing

C) Ethel Waters, 1929-1931 CD—Blackboard RESERVE

• George Gershwin, Girl Crazy (Broadway musical)
• I Got Rhythm (Broadway show tune)—performed by Ethel Waters
• See Blackboard Assignments module/Encounter Listening/Encounter 6/I Got Rhythm
• Follow NAWM 169 score as you listen!

D) NAWM 172—Duke Ellington, Cotton Tail (big band jazz composition—contrafact)

• Performed by Duke Ellington and His Orchestra (rec. 1940)—CD13, tracks 1-6

Bebop

E) NAWM 183—Charlie Parker and Dizzy Gillespie, Anthropology (bebop tune—contrafact, 1945)

• Performed by Charlie Parker, Dizzy Gillespie, Bud Powell, Tommy Potter, and Roy Haynes (rec. 1951)—CD13, tracks 59-66

Study Questions on A-E:

• 1. What musical features make this Bessie Smith work a good examples of early blues (not just the form!)?
• 2. What features of Louis Armstrong’s work are typical of New Orleans jazz? What form does this work use? Can you hear examples of collective improvisation here? What makes Louis Armstrong’s playing so different from the other musicians on these tracks?
• 3. What features of Ethel Waters’ performance (NOT the Ethel Merman recording in NRAWM) of I Got Rhythm are typical of jazz? of Broadway?
• 4. What musical features make the Ellington work a good example of big band swing? What form does this work use? Can you follow the Rhythm changes in Cotton Tail? What is the relationship between this work and Gershwin’s I Got Rhythm? How does Ellington’s music break away from the typical swing era formulas?
• 5. How is Anthropology typical of bebop? How does bop differ from earlier jazz styles (swing, etc.)? What popular song is Anthropology based on? What form does this work use?

Traditional Media

F) NAWM 184—Olivier Messiaen, Quartet for the End of Time (quartet, 1940-41)

• Mvmt. i: Liturgie de cristal—CD13, track 67

G) Benjamin Britten, War Requiem CD set—Blackboard RESERVE

• Benjamin Britten, War Requiem (requiem, 1961-62)
• II: Dies irae (from “Be slowly lifted up” to the end)
• See Blackboard Assignments module/Encounter Listening/Encounter 6/Britten, War Requiem

Study Questions on F-G:

• 6. Written in a German prison camp in 1941, Messiaen’s quartet focuses on texts from the book of Revelations. What features of this work remind you of Debussy? What features remind you of Stravinsky and Neoclassicism? What features are unique to Messiaen? Is there a message here? Explain.
• 7. Britten’s War Requiem blends texts from the traditional Requiem Mass with poetry written by British soldier Wilfred Owen during World War I. In this excerpt, as in the other movements of this requiem, Britten interposes Owen’s texts so that they comment on the Latin Requiem texts. What features of Britten’s music sound Neoclassical? Do you hear any resemblance to Stravinsky in this excerpt? Explain. What is the message here? (Is there one?)

Chance vs. Serialism

Prepared Piano

H1) NAWM 187—John Cage, Sonatas and Interludes (suite for prepared piano, 1946-48)

• Sonata V—CD13, tracks 77-78

Chance Music

H2) NAWM 188—John Cage, Music of Changes (chance composition for solo piano, 1951)

• Book I—CD13, tracks 79-81

I) NAWM 189—Morton Feldman, Projection I (chance composition for cello, 1950)—CD13, tracks 82-84

Total (Integral) Serialism

J) NAWM 190—Karlheinz Stockhausen, Kreuzspiel (chamber work for piano, oboe, bass clarinet, and percussion, 1951)

• Part I—CD13, tracks 85-87

K) NAWM 191—Pierre Boulez, Le marteau sans maître (song cycle for alto and chamber ensemble, 1953-55)

• VI: Bourreaux de solitude—CD14, tracks 1-3

Study Questions on H-K:

• 8. Cage’s works for prepared piano come before he invented chance music, but they reflect his early belief that any sound can be used to make music, not just “musical” sounds. How would you describes the sounds, rhythms, and textures used in Sonata V? What is the overall form? What other kinds of music does this remind you of?
• 9. Cage’s Music of Changes was his very first chance work. What makes it a chance work? What is the overall effect of this work? What do you think Cage was trying to express with this work? Is chance a valid approach to the creation of a musical work? Why or why not? Do the articles by Cage (in Weiss/Taruskin & Fisk) help you understand this music any better? Why or why not?
• 10. In Projection I, how does Feldman’s use of chance procedures differ from Cage’s? Which musical elements are most important here? What is the form? How do you listen to this music?
• 11. Stockhausen’s Kreuzspiel is one of the earliest examples of total serialism. What elements does Stockhausen serialize in this work? Does this work sound more “organized” that the chance works of Cage and Feldman? Why or why not? What does the composer seek to express here?
• 12. Boulez’s Le marteau sans maître is regarded as one of the masterworks of total serialism. How does Boulez differ from Stockhausen in his use of serial procedures? What similarities can you find between this work and Schoenberg’s Pierrot lunaire, one of Boulez’s models for Le marteau? What does the composer seek to express here? What other kinds of music does this remind you of?

Early Electronic Music

Musique concrète & Chance Music

H3) The 25-Year Retrospective Concert of the Music of John Cage, CD3—Blackboard RESERVE

• John Cage, Williams Mix (chance/musique concrète composition for magnetic tape, 1952)
  • See Blackboard Assignments module/Encounter Listening/Encounter 6/Cage, Williams Mix

Early Synthesis

L) NAWM 194—Milton Babbitt, Philomel (monodrama for soprano, recorded soprano, and synthesized sound, 1964)

• Section I—CD14, tracks 7-11

Voltage Controlled Synthesis (Moog & Buchla)

• Morton Subotnick, Silver Apples of the Moon (electronic composition; 1967)
  • Part 1 excerpt
  • See Blackboard Assignments module/Encounter Listening/Encounter 6/Subotnick, Silver Apples of the Moon

Study Questions on H3 & L-M:

• 13. Cage’s Williams Mix provides an example of both musique concrète and chance music. What makes this musique concrète? What kinds of sounds do you hear in this work? What makes it a chance work? What is the overall effect of this work? What do you think Cage was trying to express with this work? Was it meant to be serious? humorous? thought-provoking? Is chance a valid approach to the creation of a musical work? Why or why not? Do the articles by Cage (in Weiss/Taruskin & Fisk) help you understand this music any better? Explain.
• 14. Babbitt’s Philomel provides an example of both total serialism and early electronic music. It was created on one of the very first synthesizers (the RCA Mark V) at the Columbia-Princeton Electronic Music Center. What features of this music result from serial procedures? What do synthesized sounds add to this work? What do you think Babbitt is trying to express in this music (what is the story about?)? Can you hear the text-painting described in the NAWM notes?
• 15. Subotnick’s Silver Apples of the Moon was created on one of the first voltage-controlled synthesizers (a Buchla instrument). Do you notice any difference between these electronic sounds and those used by Babbitt? Can you hear the short ostinato patterns created by the Buchla sequencer module? What is Subotnick trying to express in this music? What do you find most interesting about the way this piece is put together? Does the style of this piece differ from earlier electronic pieces? Explain.

The Avant-Garde: The New Virtuosity, Sound & Texture, Quotation & Collage (1960s)

Sound Mass (Texture and Process)

N) NAWM 195—Krzysztof Penderecki, Threnody: To the Victims of Hiroshima (tone poem for string orchestra, 1960)—CD14, tracks 12-18

Study Questions on N:

• 16. Penderecki’s Threnody for the Victims of Hiroshima is a sound mass composition, a purely acoustic work inspired by the new sounds and textures of electronic music. All of the sounds in this work are made by a string orchestra: violins, violas, cellos, and basses. Which sonorities sound like they could be electronic? What special effects do the string players use here? What is unusual about the notation used here? Do you hear the big blocks of sound that give this style its name? Specifically, is this an effective lament for victims of the atomic bomb dropped at Hiroshima? Is this program music? Explain.

The New Virtuosity—Quotation and Collage; New Instruments, Sounds & Scales

O1) NAWM 192—Luciano Berio, Sequenza III (solo for female voice, 1965-66)—CD14, track 4

O2) Berio, Sinfonia/Eindrücke CD—RESERVE MCD B511s

• Luciano Berio, Sinfonia (1968/69), mvmt. III (symphony)—track 3 (1st 5:36 only)
• Alternate Recording: Blackboard Assignments module/Encounter Listening/Encounter 6/Berio, Sinfonia

P) Kronos On Stage–Black Angels/Ghost Opera DVD—RESERVE VIDEO 785.7194 K93

• George Crumb, Black Angels (electric string quartet, 1970)
  • Image 4: Devil-Music—DVD track 2, starting at 3:25
  • Image 5: Danse macabre—DVD track 2, starting at 5:05
• Alternate Recording: NAWM 193—CD14, tracks 5-6
• Alternate Recording: MCD C571b—Crumb, Black Angels & Lutoslawski, String Quartet CD—tracks 4-5

Study Questions on O-P:

• 17. What is unusual about the notation Berio uses in Sequenza III? What new sounds and virtuoso effects does he call for? How does this differ from classical vocal technique? What does Berio seek to express in this work? How is this music representative of the “new virtuosity”?
• 18. What is Berio trying to express in this music? What role do quotation and collage play here? What meanings do these “found objects” take on in this context? How is this work representative of the “new virtuosity”? What is the effect of the Mahler Scherzo that runs throughout this movement? In this work, what is Berio saying about the symphonic tradition?
• 19. Make sure you follow the NAWM score as you watch this DVD performance. What is Crumb trying to express in Black Angels? What new sounds does Crumb explore in this work? Which sounds do you find most fascinating, visually and sonically? Is this electronic music? How is this music representative of the “new virtuosity”?

The End of the Millennium

Minimalism

Q) NAWM 197—Steve Reich, Tehillim, for Soprano, Recorded Soprano, and Synthesized Sound (psalm setting for four solo voices and chamber orchestra, 1981)

• Part IV—CD14, tracks 26-34

The New Accessibility

Accessible Modernism

S) NAWM 199—György Ligeti, Étude No. 9: Vertige (étude for piano solo, 1990)—CD14, tracks 39-40

Radical Simplification

T) NAWM 201—Arvo Pärt, Seven Magnificat Antiphons—(choral antiphons, 1988, rev. 1991)

• No. 1: O Weisheit—CD14, track 47
• No. 6: O König aller Völker—CD14, track 48

Study Questions on Q-T:

• 20. Reich’s Tehillim marked a turning point in his music, offering a stronger sense of musical shape and direction than previous works. What features of Tehillim are typical of minimalism? Is there an audible “process” at work in this piece? What is the form of this work? How can you tell? What is unusual about the notation? the instrumentation of the orchestra? the vocal style? How do Philip Glass’s comments (RESERVE readings from Fisk) help you understand this music better? How do the Reich RESERVE readings affect your understanding of minimalist music?
• 21. Rooted in the techniques and sounds of minimalism, Adams is much less doctrinaire than others about his relationship to minimalism, borrowing freely from other musical styles. What features of Short Ride in a Fast Machine are typical of minimalism? What features do not sound so typical? What styles does he borrow from, if any? Is there an audible “process” at work in this piece? Explain. How do Michael Steinberg’s comments on Adams’s website (www.earbox.com/W-shortride.html) help you understand this music better?
• 22. Over the course of his career, Ligeti has used techniques associated with styles as diverse as serialism, sound mass (and micropolyphony), chance, minimalism, and Central African pygmy polyphony. How would you describe the overall shape and form of his Vertige? What textures does he favor here? What about his use of rhythm? In what ways is this more accessible than chance and serial works from the 1950s?
• 23. Estonian composer Arvo Pärt is one of several composers growing up behind the Iron Curtain who adopted minimalist techniques but adapted them to create a simple, profoundly spiritual style. What features of Pärt’s Seven Magnificat Antiphons are typical of minimalism? What features do not sound so typical? Is there an audible “process” at work in this piece? Explain. What is Pärt trying to express in these two movements? What do you think about Reich’s comments on Pärt (RESERVE reading)?

Interactions with Non-Western Musics

Classical Composers

U) Kronos On Stage–Black Angels/Ghost Opera DVD—RESERVE VIDEO 785.7194 K93

• Tan Dun, Ghost Opera, for string quartet & pipa (ghost opera, 1995)
  • Act III: Dialogue with ”Little Cabbage“—DVD track 7

World Beat

V) Paul Simon, Graceland CD—Blackboard RESERVE

• Paul Simon & Ladysmith Black Mambazo, Diamonds on the Soles of Her Shoes (pop song, 1986)
• See Blackboard Assignments module/Encounter Listening/Encounter 6/Paul Simon, Graceland

Study Questions on U-V:

• 24. Born and raised in China, composer Tan Dun emerged in the early 1980s as the leading composer of the Chinese “New Wave” that followed the collapse of China’s so-called Cultural Revolution. Always controversial, his music was denounced for its “spiritual pollution” in 1983, and performances were banned for a time. He took this opportunity to move to New York, finish graduate degrees at Columbia, and inaugurate a career in the U.S. Today, Tan Dun is probably best known as the Oscar-winning composer of the score for Crouching Tiger, Hidden Dragon. and his powerful, full-scale opera, The First Emperor, premiered at New York’s Metropolitan Opera the year before last (with Plácido Domingo, Paul Groves, and Elizabeth Futral; directed by Zhang Yimou, who also did House of Flying Daggers and Hero). Rather than choose one or the other, his music integrates both Asian and Western traditions. Which aspects of this movement from Ghost Opera sound Chinese? Which sound more like Western classical or avant-garde music? What other postwar crosscurrents can you hear in Tan Dun’s music? How do the notes on this work on the publisher’s (G. Schirmer’s) website help you understand this music better?
• 25. Since the early days of radio and recorded music, Western popular music has had a pronounced influence on the popular musics of nations around the globe. By the 1980s, these non-Western (yet Western-influenced) popular styles began to be heard worldwide. The collective name given to these styles is World Beat, and these styles in turn have influenced Western musicians as diverse as Peter Gabriel, Joni Mitchell, Brian Eno and Herbie Hancock. Paul Simon had been drawing on non-Western musics since his Simon & Garfunkel days in the 1960s, but the emergence of World Beat inspired him to go even farther. For his Graceland album he decided to collaborate with South African musicians to create songs that fused Western and South African pop styles. Which elements of Diamonds on the Soles of Her Shoes sound typical of Western pop? Which elements sound more like African popular music (i.e. township jive)? Does this song fuse these elements effectively? Explain.

Digital Synthesis & the MIDI Revolution

Jazz Fusion & the Music Video

W) Future2Future Live DVD—RESERVE VIDEO 781.63 F886

• Herbie Hancock, Rockit (music video, released 1983)
• Select Bonus Video/Rockit: The Original Music Video from 1982

New Technologies

X1) Kaija Saariaho, Prisma/Private Gardens CD & CD-ROM—MCD S112p

• Kaija Saariaho, Six Japanese Gardens: In memory of Toru Takemitsu (solo work for percussion and live electronics, 1995)
• Mvmt. IV. Rock Gardens of Ryoan-ji—Private Gardens CD, track 9
• Alternate Recording: See Blackboard Assignments module/Encounter Listening/Encounter 6/Saariaho, Ryoan-ji
• Mvmt. VI. Stone Bridges—Private Gardens CD, track 11
• Alternate Recording:See Blackboard Assignments module/Encounter Listening/Encounter 6/Saariaho, Stone Bridges

Study Questions on W-X:

• 26. Since the 1960s, jazz fusion pioneer Herbie Hancock has melded jazz with a variety of popular styles, including funk, techno, hip-hop, and rap. He has also shown a long-standing interest in new technologies, ranging from the latest & greatest electronic keyboards to music videos to the first-ever Internet live jam. Hancock scored one of the biggest hits of his career with the MTV video, Rockit (1982). What features of this work are typical of jazz? What other musical genres does he borrow from? What features of the video are typical of music videos? Which features are innovative (for 1982)? Is there a message? Expain.
• 27. You had a chance to explore Saariaho’s compositional techniques in Part II above. Which of those techniques can you hear most clearly in these two pieces? What kinds of colors does she use here? How does Saariaho’s music differ from earlier electronic works on the Listening List? Are the electronic sounds integrated with the percussion instruments, or distinct from them (or both)? What is Saariaho trying to express? Is this program music? Why or why not? (Check out the photographs of Ryoan-ji and a Japanese stone bridge in the Blackboard Encounter 6 Listening module.)

Postminimalism

R2) John Adams, Doctor Atomic DVD—RESERVE VIDEO 782.14 D637

• John Adams, Doctor Atomic (opera, 2003)
• Act II, Scene 3: At the sight of this (chorus)—Disc 2, chapter 5, 0:58:39–1:03:32
• Act II, Scene 4: To what benevolent demon (monologue)—Disc 2, chapter 6, 1:03:32–1:11:11

Accessible Modernism—A New Lyricism

X2) Karita Mattila, Helsinki Recital CD—Blackboard RESERVE

• Kaija Saariaho, Quatre Instants (song cycle for soprano and piano, 2002)
• No. 3. Parfum d l’instant
• See Blackboard Assignments module/Encounter Listening/Encounter 6/Saariaho, Quatre Instants

Evoking Popular Musics

Y) NAWM 202—Michael Daughtery, Dead Elvis (chamber composition for bassoon and chamber ensemble,1993)—CD14, tracks 63-69

Study Questions on R2 & X-Y:

• 28. What features of Adams’s Doctor Atomic are typical of minimalism? of postminimalism? What features do not sound so typical? Is there an audible “process” at work in this piece? Explain. What do the quotes from the Bhagavad-Gita and Baudelaire add to your understanding of the story? How do Adams’s comments in the interview on his website (www.earbox.com/inter-doctoratomic.html) help you understand this music better?
• 29. After writing so many works using electronic and avant-garde techniques, Saariaho surprised many listeners with her recent opera, L’amour de loin (Love from Afar, 2003). An unexpected lyricism emerged in these works, and she wrote a string of new works for the human voice that offer beautifully expressive examples of accessible modernism, including Lonh (voice and electronics) and Quatre instants (voice and piano). How does Parfum de l’instant compare with her Six Japanese Gardens? Which is more expressive? accessible? modernist? How does Saariaho express the words of the poem? What does the piano part add to the expression? Do you hear any examples of the electronic techniques you read about in Part II above (Prisma)?
• 30. In what ways does Daugherty evoke popular musics in his Dead Elvis? What specific styles does he refer to? What techniques does he borrow from those styles? What does the compser seek to express here?

Extra Credit Listening—

Buehler Library

• MCD B619—Birth of Rhapsody in Blue—Paul Whiteman’s Historic Aeolian Hall Concert of 1924
• MCD G381p—Gershwin, Porgy and Bess
• MCD J68r 1996—Robert Johnson, The Complete Recordings
• MCD H732l—Billie Holiday, Lady Day’s 25 Greatest, 1933-44
• MCD S643e—Bessie Smith, Essential Bessie Smith
• MCD S661c (or M12 S661c)—Smithsonian Collection of Classic Jazz
• MCD B592 (or M12 B592)—Smithsonian Collection of Big Band Jazz
• VIDEO 782.1 D285—Adams, The Death of Klinghoffer (DVD)
• VIDEO 782.14 D637—Adams, Doctor Atomic (DVD)
• VIDEO 782.1 E37—Adams, El niño (DVD)
• MCD A214h 1994—Adams, Harmonielehre, A Short Ride in a Fast Machine, etc. (Rattle)
• MCD A214d—Adams, The Dharma at Big Sur/My Father Knew Charles Ives
• MCD B112ph—Babbitt, Philomel
• MCD B112p—Babbitt, Piano Music (Taub)
• MCD B511s—Berio, Sinfonia & Eindrücke (Boulez)
• MCD B763ma—Boulez, Le marteau sans maître, Notations, Structures (Boulez)
• MCD C131i—Cage, In a Landscape (prepared piano music)
• MCD C571b—Crumb, Black Angels & Lutoslawski, String Quartet (Cikada Quartet)
• VIDEO 785.7194 K93—Kronos on Stage DVD (Crumb, Black Angels & Tan Dun, Ghost Opera)
• MCD E12m—Early Modulation/Vintage Volts (electronic music by Luening, Ussachevsky, Mathews, Schaeffer, Xenakis, Cage, Subotnick, etc.)
• MCD L974c—Lutoslawski, Concerto for Orchestra, Jeux vénitiens, Livre pour orchestre, Mi-parti
• M12 N352s—Penderecki, The New Music LP
• MCD R347t—Reich, Tehillim
• MCD R347c—Reich, The Cave (Hillier)
• MCD R347th—Reich, Three Tales CD & DVD
• M12 R573c—Riley, Cadenza on the Night Plain and Other String Quartets LP
• M12 R573i—Riley, In C LP
• VIDEO 782.1 A525—Saariaho, L’amour de loin (DVD)
• MCD S112p—Saariaho, Prisma/Private Garden (CD with CD-ROM)
• M12 S864g—Stockhausen, Gesang der Jünglinge & Kontakte LP
• M12 S941s—Subotnick, Silver Apples of the Moon LP
• M12 V296—Varèse, Music of Edgar Varèse LP
• MCD B369 1962/66—The Beatles: 1962-1966
• MCD B369 1967/70—The Beatles: 1967-1970
• M12 G786j v.25—Contemporary currents: Coleman, Hancock, Jarrett, Corea (The Greatest Jazz Recordings of All Time: 97-100) LP set
• MCD D263b 1999—Miles Davis, Bitches Brew
• MCD D263c 1988—Miles Davis, Complete Birth of the Cool
• MCD D263k 1997—Miles Davis, Kind of Blue
• MCD G381p—Miles Davis, Porgy and Bess
• VIDEO 781.63 F886—Herbie Hancock, Future2Future Live DVD (includes Rockit music video)
• MCD M943a—Muddy Waters, Anthology: 1947-1972
• M12 R682—Rock & roll, the early days LP
• MCD S661c (or M12 S661c LP set)—Smithsonian Collection of Classic Jazz