Postwar Heirs to the Classical Tradition (Chapter 37)

I. Diversity and Common

Themes
A. Competing approaches in postwar
decades
1. extensions of tradition to radical avant-
garde 2. commonalities amidst diversity 3.
distinctions lie in music’s purpose
a. music that will find place alongside older classics b.
challenge listeners’ preconceptions c. something new
with little reference to the past d. postwar broad
currents intermingle B. The university as patron
1. composers employed as teaching faculty at universities, colleges,
conservatories
a. time to compose, a ready audience, access to
performers b. academic freedom, diverse music c.
composer isolated from public, independent of its support
2. a number of refugees taught in universities
a. Schoenberg, University of California at Los Angeles b. Milhaud, Mills College in Oakland,
California c. Paul Hindemith, Yale 3. Harvard, Walter Piston encouraged neoclassical
approach 4. Princeton, Roger Sessions and Milton Babbitt focus on approaches of
Schoenberg, Webern 5. Universities of Illinois and Michigan important centers,
contemporary music festivals II. Extensions of Tradition A. Tonal traditionalism
1. individual styles without radical departure from the
past
a. characterized by tonality or
neotonality b. seeking to communicate
to varied public
i. identifiable themes ii. readably
audible forms iii. programmatic
subjects, titles 2. Samuel Barber
(1910–1981)
a. American composer, committed to
tonality b. tonal romanticism
i. Adagio for Strings (arranged from slow movement of String Quartet,
1936) ii. Violin Concerto (1939) iii. Piano Concerto (1962) c. modernist
resources in tonal music
i. Piano Sonata (1949), twelve-tone rows in tonal framework
 d. renowned for vocal music
i. Dover Beach (1931), voice and string quartet ii. Knoxville:
Summer of 1915 (1950), voice and orchestra iii. three operas e.
Hermit Songs (1952–53), texts on medieval Irish monks and
hermits
i. always tonally centered ii. each offers novel blend of traditional tonality
with modern techniques B. Benjamin Britten (1913–1976)
1. most prominent composer in tonal or neotonal
tradition
a. international reputation in postwar decades b. English
composer, studied at Royal College of Music c. late 1930s, wrote
film scores d. tempered modernism with simplicity e. deeply
influenced by humanitarian concerns, ideals of public service

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i. wrote music for children, amateurs ii.
allegorical pleas for tolerance iii. pacifism
2. music for amateurs
a. choral music conceived for church choirs, schools, amateur
choruses
i. Hymn to St. Cecilia (1941–42) ii. A Ceremony of
Carols (1942) iii. Missa brevis (1959) b. Noyes’
Fludde (Noah’s Flood, 1957–58), one-act opera
i. professional performers with children of various ages ii.
hymns: audience participation 3. homosexuality
a. Peter Pears (1910–1986), Britten’s life partner b.
wrote most of his tenor roles for Pears c. several
operas have themes that relate to homosexuality
i. Billy Budd (1950–51) ii. Death in
Venice (1971–74) 4. Peter Grimes
(1944–45)
a. first English opera since Purcell to enter international
repertory b. theme read as allegory for homosexuals in a
hostile society c. last scene (NAWM 209)
i. bitonality: uncaring sea, equally uncaring townsfolk ii. C
major: depicts shimmering sea iii. A major: citizens go
about their business 5. War Requiem (1961–62)
a. expresses Britten’s pacifism b.
contrast of texts and performing
 forces c. Latin texts of Requiem Mass
i. soprano soloist, chorus, full orchestra ii. sections for boys’
choir and organ d. verses by Wilfred Owen, English soldier
killed in France, 1918
i. alternating tenor and baritone soloists with chamber
orchestra e. interweaves texts, comment on each other C. Olivier
Messiaen (1908–1992)
1. most important French composer born in twentieth
century
a. studied organ, composition at Paris Conservatoire b. professor of harmony Paris
Conservatoire, 1941 c. taught important composers of next generation: Pierre Boulez,
Karlheinz Stockhausen, Ton de
Leeuw (1926–1996) 2. extended
techniques of Debussy, Stravinsky
a. post-tonal musical
language
i. based on nondiatonic modes ii.
harmonic stasis iii. nonmetric
rhythms iv. colorful harmonies,
timbres v. inspired contemplation 3.
devout Catholic, religious subjects
a. Quatour pour la fin du temps (Quartet for the End of Time, 1940–41), for violin, clarinet,
cello,
piano b. Vingt regards sur l’Enfant-Jésus (Twenty Looks at the Infant Jesus,
1944), for piano c. Saint Francis of Assisi (1975–83), opera d. numerous works for
organ 4. ecstatic contemplation

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a. concentrated meditation on few materials b.
juxtaposes static ideas; heritage of Debussy, Stravinsky
c. The Technique of My Musical Language (1944) 5.
notated birdsong
a. used in several compositions b. convey sense of
contemplating gifts of nature, divine c. Catalogue d’oiseaux
(Catalogue of Birds, 1956–58), for piano 6. modes of limited
transposition
a. collection of notes, do not change when transposed by certain
intervals b. well suited to suggest contemplation, negation of desire 7.
harmonic stasis
 a. avoids moving forward to resolution b.
chord series create stasis or meditation
8. duration, not meter
a. rejected traditional Western meters
b. inspired from systems based on
duration
i. ancient Greek poetic meters ii. French
Renaissance practice, musique mesurée iii. Indian
music, tala c. duration: realm of time, ruled by the
divine 9. additive and nonretrogradable rhythms a.
added values, emphasized duration
i. small durational values added ii. produce units of
irregular length b. nonretrogradable rhythms, same
forward and backward
i. patterns preserved identity outside of time ii. symbolize the eternal 10. style example:
Liturgie de cristal (Crystal Liturgy, NAWM 210), from Quartet for the End of Time
a. violin and clarinet, figures resemble birdcalls b. modes of limited
transposition: repeating sequence of five notes (C–E–D–F#–B-flat) c. harmonic
stasis: piano plays twenty-nine chords six times d. piano and cello play
repeated patterns of durations
i. resembles talea, medieval isorhythm e.
beautiful timbres, colorful harmonies D.
Serialism
1. the spread of
serialism
a. United States, Adolph Weiss (1891–
1971)
i. introduced Schoenberg’s methods, 1927 ii. studied with
Schoenberg in Vienna, Berlin iii. taught several American
composers b. influx of composers fleeing Nazi regime i.
Schoenberg, 1933; Krenek, 1938 c. prominent twelve-tone
composers fled Europe during Nazi era
i. postwar German composers embraced music Nazis condemned
ii. by early 1950s, composers adopted serial methods 2. politics
and institutional support
a. West German government encouraged developments b.
Darmstadt: beginning in 1946, summer courses for new music c.
1953, Webern hailed as father of new movement d. music free of
nationalist, fascist, leftist ideology e. ideas fostered at Darmstadt
inspired composers in many countries f. composers worked
independently 3. extensions of serialism

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a. late 1940s, total serialism: principle of tone rows applied to parameters other
than pitch b. total serialism is never total
i. only some nonpitch elements treated serially
c. other new extensions
i. subsidiary rows derived from main series ii.
using fragments of a row iii. subjecting rows to
various other transformations d. leading
composers
i. Milton Babbitt (1916–2011), United States ii.
Pierre Boulez, Paris iii. Karlheinz Stockhausen,
Cologne 4. Milton Babbitt
a. Three Compositions for Piano
(1947)
i. first piece to apply serial principles to duration ii. combinatorial
pitch rows, four-number durational row b. 1947–1961,
combinatorial rows and derived rows related by trichords
i. organized duration through number rows
c. early 1960s, “all-partition arrays”
i. interrelated rows, all possible ways of segmenting row into groups of various
lengths d. “time point” approach to duration
i. each measure divided into twelve equal units of time ii. notes
begin at particular points on time grid using number rows iii. pitch
row converted into number row by number of semitones iv. pitch
row also determines rhythm 5. Karlheinz Stockhausen (1928–2007)
a. inspired by Messiaen, Mode de valeurs et d’intensités (Mode of Durations and
Intensities)
i. created a “mode” comprising thirty-six pitches ii. each assigned
specific duration, dynamic level, articulation iii. piece was not serially
organized b. Kreuzspiel (Cross-Play, 1951), for piano, oboe, bass
clarinet, percussion
i. pitch row permuted through complex process of rotation ii. each row form stated
only once iii. rows of duration and dynamics permute with pitch rows iv. percussion
uses two rows of duration v. pitch register also subject to serial techniques vi.
changes in pitch, duration, dynamic, register cross at precisely same point in the
middle;
 hence the title c. later
works are diverse
i. Kontra-Punkte (1952–53), developed serial procedures ii.
other works combine serialism with other methods iii.
pioneer in electronic music iv. adopted indeterminacy,
quotation, other trends v. Kontakte (1958–60), used
moment form 6. Pierre Boulez (1925–2016)
a. also inspired by Messiaen’s Mode de valeurs et
d’intensités b. Structures (1951–52), for two pianos
i. uses first of Messiaen’s three twelve-note divisions as pitch
row ii. transformed pitch and duration rows iii. used dynamics,
articulation to distinguish rows c. Le marteau sans maître (The
Hammer without a Master, 1953–55)
i. for alto voice, alto flute, xylorimba, vibraphone, guitar, viola, soft percussion
instruments ii. ensemble different in each movement iii. pointillistic style, serial
methods, sensitive musical realization of the text

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iv. nine short movements, surrealist poems by René Char v. instrumental
movements comment on vocal ones vi. effects suggestive of Balinese
gamelan music vii. vocal line: wide melodic intervals, glissandos,
Sprechstimme d. Bourreaux de solitude (NAWM 211), sixth movement of Le
marteau sans maître
i. almost impervious to analysis ii. attractive musical surface, always changing iii.
instrumental prelude and postlude circulate twelve chromatic notes, entire set of
durations,
dynamics, timbres iv. central portion: thinner texture, longer melodic
lines, frequent unisons 7. the diversity of serial music
a. reflection of basic condition of twentieth-century music b. composers
seek to create new music linked in essential ways to the past E. The new
virtuosity
1. new generation of technically proficient performers
emerged
a. careers as champions of the newest music b. encouraged
composers to write pieces to challenge their skills 2. Luciano
Berio (1925–2003)
a. Italian composer, wrote series titled Sequenza (1958–
2002)
i. each for unaccompanied solo instrument for specific
 performer ii. title refers to harmonic fields explored b. Sequenza
IV for piano (1965–66)
i. rapid gestures, sudden changes of register and dynamics ii. atonal
language, figuration, textures resemble earlier serial music iii. sostenuto
pedal used throughout, catches harmonics from other notes iv. piece
drawn from two chords derived from each other 3. Elliott Carter (1908–
2012)
a. American composer, wrote for virtuoso performers b.
complex, nonserial style; innovations in rhythm and
form c. Cello Sonata (1948), developed metric
modulation
i. precise proportional change in value of durational unit
d. String Quartet No. 2 (1959)
i. each instrumental part has distinct personality ii. instruments
differentiated by their most prominent intervals iii. also distinguished by
rhythm iv. first violin effects the metric modulation v. result is a
counterpoint of sharply differentiated lines III. John Cage and the
Avant-Garde
A. John Cage and other avant-garde composers raise fundamental
questions
1. What is music? 2. What counts as musical sound? 3. How
should we listen, and to what? 4. What is a composition, and
what is the role of the composer? 5. Where is the boundary
between art and life—or is there any? B. John Cage (1912–
1992)
1. Cage’s
career
a. studied with Cowell and Schoenberg b. mid-1930s, composed serial music
c. 1940s, worked in experimentalist tradition d. 1950s and 1960s, more
radical reconceptions e. worked closely with artists in other fields f. frequently
collaborated with Merce Cunningham (1919–2009), choreographer 2. search
for new sounds

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a. late 1930s, early 1940s, works for percussion
ensemble b. use of untraditional instruments
i. Third Construction in Metal (1941), tin cans of varying size and pitch ii. Imaginary
Landscape No. 3 (1942), electric buzzer, electronically amplified noises 3. form
a. Schoenberg stressed structure that relates whole to
 the parts b. Cowell introduced him to tala in Indian music
c. Cage combined these ideas
i. structures based on duration, proportions of whole reflected in each part
ii. First Construction in Metal (1939), square root form d. organization in
units of time rather than pitch and rhythmic relationships 4. prepared piano
a. various objects inserted between strings of the
piano b. results in delicate, complex percussive
sounds c. sounds resemble drums, woodblocks,
gongs d. Sonatas and Interludes (1946–48)
i. sixteen “sonatas” and four interludes ii. each movement
explores different set of timbres, figurations e. Sonata V
(NAWM 212)
i. interaction between content and durational structure ii. units
of time determined by binary and square root forms 5. 1950s
and 1960s a. influences
i. 1950, met Morton Feldman (1926–1987) ii. Zen Buddhism iii. art of Robert
Rauschenberg (1925–2008) b. opposed museum-like preservation of music c.
created opportunities for experiencing sounds as themselves d. strategies: chance,
indeterminacy, blurring of boundaries between music, art, and life e. unmistakably
avant-garde 6. chance
a. some decisions normally made by composer left to
chance b. pieces did not convey his intentions c.
approach varied from piece to piece d. Music of
Changes for piano (1951, Book I; NAWM 213)
i. I-Ching (Book of Changes), ancient Chinese book of prophecy ii.
charts of possible sounds, silences, dynamics, durations, tempos iii.
method from I-Ching used to select which were used iv. resulting
piece, sounds occur randomly 7. indeterminacy
a. certain aspects of the music left
unspecified
i. drew from Morton Feldman, Projection I for cello (1950)
b. Concert for piano and orchestra (1957–58)
i. sixty-three pages, various graphic notation ii. exact sounds vary
considerably from one performance to another c. 4’33” (Four
Minutes Thirty-Three Seconds, 1952)
i. most extreme, famous work ii. performers sit silently at
instruments for specified time iii. noises heard in hall
constitute the music 8. late 1950s, complete openness
a. Variations IV (1963), indeterminacy, chance, other
activities b. Musicircus (1967), open-ended “happening”
 i. any number of musicians performing different music all at
once

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ii. performed in large space, audience wanders
freely 9. later works
a. chance and indeterminacy, constant tools b. Cheap Imitation (1969), chance
procedures to Satie’s Socrate c. Two2 for two pianos (1989), chance, indeterminacy,
and structure based on duration C. Indeterminacy in works of other composers
1. Morton
Feldman
a. closely associated with expressionist painters in New
York b. Projection I, solo cello
i. uses boxes rather than noteheads ii. approximate register
indicated, specific pitches left up to player iii. timbre and rhythm are
specified iv. deemphasized pitch, attention focused on other
aspects c. pieces generally sparse in texture, quiet, atonal,
pointillistic 2. Earle Brown (1926–2002)
a. member of New York group around Cage and
Feldman b. December 1952 (1952), piece in graphic
notation
i. nothing is specified ii. vertical, horizontal lines, and rectangles of
various sizes iii. score placed in any orientation iv. performed any length
of time, any number of instruments, sound-makers c. Available Forms I
(1961), Available Forms II (1962)
i. “open form” works ii. completely scored fragments iii. order,
tempo determined by conductor iv. overall character remains
within certain range 3. European contemporaries adopt chance
procedures or indeterminacy
a. Stockhausen: Klavierstucke XI (Piano Piece XI,
1956)
i. score is single large sheet, nineteen short segments of music ii.
played in succession as player’s eye lands on music b. Britten, other
composers: brief periods of indeterminacy 4. Witold Lutosławski
(1913–1994)
a. Polish composer, selective use of indeterminacy b. insisted on authorship
of entire composition, more modernist approach c. String Quartet (1964):
pitches and rhythms specified, not coordination of parts d. Symphony No. 3
 (1983): same method with great subtlety 5. significance of indeterminacy
a. variety of new kinds of
notation
i. fragments of conventional staff notes
ii. purely graphic suggestions b. no two
performances identical
i. composition exists as performance, sum of possible
performances c. awareness that earlier music was not rigidly defined D.
Music as theater and performance art
1. performance
art
a. action performed in public
place b. 1960s, spearheaded by
Fluxus
i. loose group of avant-garde artists, Europe and United
States ii. produced concerts and publications c. Composition
1960 No. 2, by La Monte Young (b. 1935)
i. instructs performers to build a fire
d. Yoko Ono (b. 1933)
i. Grapefruit (1964), conceptual pieces, aimed at performer and
observers

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ii. Earth Piece (1963), performers listen to sound of earth turning iii. collaboration with
John Lennon e. some pieces never intended for performance; e.g., An anti-personnel
CBU-Type cluster bomb
unit will be thrown into the audience (1969) by Philip Corner (b.
1933) f. Nam June Paik (1932–2006)
i. Korean born, central figure of Fluxus movement ii. exhibits with multiple television sets;
blended music, video, performance art, sculpture IV. New Sounds and Textures
A. New instruments, sounds, and
scales
1. Harry Partch (1901–
1974)
a. individualistic, single-minded search for sonic
media
i. repudiated equal temperament, Western harmony, counterpoint ii. inspired by
Chinese, Japanese, Native American, African, rural American music iii.
 “monophonic” musical ideals of ancient Greeks b. forty-three-note scale, based
on just intonation
i. pure intervals from harmonic series ii. built new instruments that could play scale
iii. 1950s and 1960s, multimedia works use instruments, speaking, chanting,
dancing 2. George Crumb (b. 1929)
a. new sounds out of ordinary instruments, objects b. new and unusual effects
always have musical purpose, evoke extramusical associations c. Ancient Voices
of Children (1970), cycle of four songs
i. poems by Federico García Lorca ii. two
instrumental interludes iii. unconventional
sound sources iv. special effects from
conventional instruments d. Black Angels
(1970)
i. electronically amplified string quartet ii. surrealistic dreamlike
juxtapositions iii. unusual means of bowing iv. reactions to
Vietnam conflict, social unrest, horrors of war B. Electronic music
1. musique
concréte
a. recorded sounds manipulated through mechanical and electronic means, assembled
into collages b. composer worked with concrete sounds, rather than notation c. Pierre
Schaeffer (1910–1995)
i. pioneered in Paris 1940s, Radiodiffusion Française (French Radio) ii. Cinq études de
bruits (Five Studies of Noises), for phonograph, 1948 Paris iii. collaborated with Pierre
Henry (1927–2017), Symphonie pour un homme seul (Symphony for
One Man), premiered in 1950 radio
broadcast d. tape recorders
i. possible to record, amplify, transform, superimpose, juxtapose, fragment, and arrange
music ii. many playback effects possible 2. electronic sound
a. created by oscillators, invented in
1915 b. early electronic instruments
i. Theremin: invented around 1920 by Lev Termen ii. Ondes
Martenot, invented in 1928 by Maurice Martenot iii. both
produced one note at a time, haunting, voicelike sounds c.
featured in orchestral works, film scores, popular songs
i. Messiaen’s Turangalîa Symphony (1946–
48) ii. Hitchcock’s Spellbound (1945) iii.
Beach Boys’ Good Vibrations (1966)

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 3. electronic music
studios
a. 1951–1953, studios
created
i. Columbia University in New York ii. radio stations in Cologne, Milan, Tokyo iii.
funded by governments, grants; expensive, time consuming iv. sounds
produced electronically, manipulated through electronic devices and tape b.
Gesang der Jünglinge (Song of the Youths, 1955–56), Stockhausen
i. recorded sounds alongside electronic ones ii. incorporated a boy’s voice iii. first
major piece to use multiple tracks iv. played in concert: loudspeakers placed in
various positions relative to the audience c. Varèse’s Poème électronique
(Electronic Poem, 1957–58, NAWM 214)
i. electronic sounds with recorded ones ii. commissioned by Philips Radio
Corporation, Brussels World’s Fair iii. eight-minute piece, 425 loudspeakers in
pavilion designed by Le Corbusier iv. moving colored lights, projected images
6. synthesizers
a. composers call on pitches from music keyboard b. harmonics, waveform,
resonance, location of sound controlled with knobs and switches c. late 1950s,
RCA Mark II Synthesizer, Columbia-Princeton Electronic Music Center d. mid-
1960s, Robert Moog and Donald Bulcha: simpler, more compact synthesizers
i. 1966, commercially available ii. adopted by studios,
composers around the world e. Silver Apples of the Moon
(1967), by Morton Subotnick (b. 1933)
i. first electronic piece commissioned by record company
ii. filled two sides of an LP, played at home iii. best-
seller, Nonesuch f. Switched-On Bach (1968), Walter
Carlos (b. 1939), LP
i. J. S. Bach performed on Moog synthesizers ii. sold more than one million copies, topped
Billboard classical music chart for three years g. synthesizers adopted by popular artists 7.
role of performers
a. composers have unmediated control over
compositions b. details accurately calculated and
recorded c. absence of performers hindered acceptance
8. tape and live performance
a. Milton Babbitt’s Philomel (1964, first section in NAWM
215)
i. live voice, voice on tape engage in dialogue ii.
worked out according to serial procedures C. Music
of texture and process
 1. Varése’s conception (music as spatial, sound masses)
opened door
a. invention of new sounds from conventional instruments, voices; imitate electronic
music b. striking sound combinations, novel textures 2. Iannis Xenakis (1922–2001)
a. Greek, spent most of career in France
b. engineer, architect, composer c. saw
mathematics as fundamental to music d.
Metastaseis (1953–54), for orchestra
i. each string player has unique part ii. glissandos move slowly or
quickly in comparison to other parts iii. plotted glissandos as
straight lines, transferred lines to musical notation iv. resembles
changes achieved in electronic music v. applied idea of straight
lines creating curving effect in Philips Pavilion

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3. Krzysztof Penderecki (b.
1933)
a. Polish composer, wrote one of best-known pieces based on texture and
process b. Threnody for the Victims of Hiroshima (1960, NAWM 216) i. for
fifty-two string instruments, each has unique part ii. piece measures time by
seconds iii. beginning: instruments play as high as possible, scream of very
high clusters iv. next section, players repeat series of sound effects v.
players choose one of four patterns, sounds are indeterminate vi. section
based on sustained tones, quarter-tone clusters linked by glissandos vii.
polychoral, antiphonal calls and responses c. similar techniques in many
other pieces
i. St. Luke Passion (1963–66) ii. The Devils of London (1968), opera d. mid-1970s,
turned to neo-Romanticism 4. György Ligeti (1923–2006) a. Hungarian composer b.
international fame, Stanley Kubrick’s film 2001: A Space Odyssey, excerpts of four
works
i. Atmosphères (1961) ii. Requiem (1963–65) iii. Lux aeterna
(1966) iv. Aventures (1962–63) v. music in constant motion,
static harmonically and melodically c. Atmosphères
i. begins with fifty-six muted strings with woodwinds, horns; chromatic notes
through five
octave range ii. instruments imperceptibly drop out, violas
and cellos remain iii. clusters of instruments pitted against each
other iv. changing sonorities suggest play of light and shadow v.
“micropolyphony”: many lines moving at different rates vi. effect of
 slowly moving masses of sound D. New thinking
1. spectrum of choices inspired younger generations to explore
2. requires listeners to forego traditional expectations V. Mixing
Styles and Traditions
A. Wide dissemination of music from all over the world encouraged mixed styles and
traditions
1. composers absorbed elements into their own
traditions
a. blending national or regional traditions with international ones b. interest in
music of Asia c. turning back to earlier periods in Western classical tradition
through quotation 2. Alberto Ginastera (1916–1983)
a. from Argentina, most prominent Latin American composer after Villa-
Lobos b. drew on national, international sources c. “objective
nationalism” (to 1947)
i. Danzas argentinas for piano (1937) ii. tonal
music, traditional Argentine folk elements d.
“subjective nationalism” (1947–57)
i. Bartók-like synthesis of native and international elements ii. Pampeanas No.
1 for violin and piano (1947), No. 2 for cello and piano (1950) e. “neo-
expressionism” (after 1957)
i. earlier traits with twelve-tone, avant-garde techniques ii. operas Don
Rodrigo (1963–64), Bomarzo (1966–67), Beatrix Cenci (1971) f. turn from
nationalism to abstract style typical in postwar era 3. third stream

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a. 1950s and 1960s, merging jazz and classical music b. Gunther
Schuller (1925–2015), called this “third stream” c. Transformation
(1957), by Schuller i. pointillistic twelve-tone context ii. elements of
Klangfarbenmelodie iii. full-blown modern jazz piece d. Leonard
Bernstein incorporated jazz elements into his classical music i.
Prelude, Fugue and Riffs for clarinet and jazz ensemble (1949) ii.
Symphony No. 2 “The Age of Anxiety” (1949) iii. opera Candide
(1956) 4. Michael Tippett (1905–1998)
a. English composer; synthesized historical, ethnic, non-Western
styles b. rhythmic, metrical independence from English
Renaissance music c. admiration for Javanese gamelan music
i. Piano Concerto (1953–55) ii. Triple Concerto for
violin, viola, and cello (1979) 5. Asian influences
a. growing sensitivity to other cultures, exploration of their
 music b. Canadian-American Colin McPhee (1900–1964)
i. transcribed gamelan music for Western instruments ii.
Tabuh-tabuhan (1936), for orchestra, Balinese materials
c. Britten
i. The Prince of the Pagodas (1955–56), ballet; Curfew River (1946), church
parable d. Henry Cowell
i. travels to Iran, India, and Japan ii. several works blended Asian and
Western elements iii. works include two concertos for Japanese koto
(1961–1962 and 1965) e. Lou Harrison (1917–2003)
i. interest in just intonation, inventing new instruments, music of Asia ii.
wrote several works Asian and Western instruments iii. 1970s, pieces
for traditional Javanese gamelan 6. Tōru Takemitsu (1930–1996), from
Japan
a. Asian composers linked Western and Asian
traditions b. November Steps (1967), double
concerto
i. shakuhachi and biwa with Western
orchestra B. Quotation and collage
1. quotation of existing music, including collage of multiple
choices 2. Peter Maxwell Davies (1934–2016), English
composer
a. drew on chant, English Renaissance music b. emphasized gulf
between modern times and distant past c. distorted source
material, transformed through modern procedures d. opera
Taverner (1962–70), reworks In Nomine in variety of ways 3.
George Rochberg (1918–2005), American
a. after the death of his son in 1964, turned to
quotation b. Contra mortem et tempus (Against
Death and Time)
i. quotes passages from Boulez, Berio, Varèse,
Ives c. Music for a Magic Theater
i. incorporates music of Mozart, Beethoven, Mahler, Weber, Varèse,
Stockhausen d. Nach Bach (After Bach, 1966), for harpsichord
i. “commentary” on Bach’s Keyboard Partita No. 6 in E Minor, BWV 830 ii.
dialogue between composers and styles 4. Lukas Foss (1922–2009)
a. Baroque Variations
(1967)

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i. transforms music of Handel, Domenico Scarlatti, and Bach ii.
adding clusters, fading out to inaudibility 5. George Crumb
a. Black Angels quotes Dies irae and Schubert’s Death and the
Maiden 6. Stockhausen
a. borrowed material in several
works:
i. Gesang der Jünglinge, Telemusik (1966)
ii. Hymnen (1967) iii. Opus 1970 (1970) b.
Hymnen
i. words and melodies of different national anthems ii.
combines electronic sounds with voices and instruments
iii. intention was not to interpret c. Opus 1970
i. written for Beethoven bicentenary ii. recognizable
fragments of Beethoven’s works iii. assembled on
tape, played alongside live music 7. Berio’s Sinfonia
(Symphony, 1968–69), third movement
a. incorporates most of scherzo of Mahler’s Symphony No. 2 b.
spoken texts, Samuel Beckett’s The Unnamable c. amplified
verbal and musical commentaries superimposed d. quotations
from over 100 other works VI. New Paths
A. Great diversity of sound and approach in postwar
period
1. greater difficulty for audiences 2. music still seems
new and unfamiliar to most listeners 3. some works
have been established in permanent repertoire 4. others
works known by musical elite
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