Long ago, the four eras lived together in harmony.... but everything changed when the 2nd Viennese School attacked

I really enjoy Scoenberg. He was so important to music in the 20tu century. He is the father of all of the modern composers today. I liked studying the 12 tone row in college.

Once our high school music teacher discussed the concept of Chance Music in class. We had a string ensemble back then. He asked each of us to come up with 2 bars of original music and we would play our little arrangement together to hear what the final result sounded like. A number of years ago there was a TV documentary "History of Music" with the violinist Yehudi Menuhin as the host. In 1 of the segments a trumpet player was featured to demonstrate how Chance Music works. There was a small fish tank on the table. A music staff with a Treble Clef was taped onto the glass on 1 side of the tank. The fish would move about in the tank in an unpredictable manner. When the fish moved higher up, the trumpet player would play a higher note and vice versa. Instead of playing with a piece that was composed or arranged beforehand, this is completely by chance.

BEST THUMBNAIL EVER 😂😂😂

Love the Poulenc concerto. Deserves (more) recognition.

I think you're the best piano channel on KZfaq. Really enjoying the high quality videos. Hope you keep growing in popularity!

Love this videos! Great content

Great! Thx for the video!

great and interesting video!

Thank you, very helpful video

Thank you. Very good video.

No matter how abstract a piece of music or art is the artists always sign their names very clearly

Thanks a lot!

And between Mahler and Schönberg, there was Max Reger. (Often called as the "new Bach"). In 1907 he already got as far as Richard Strauss in the 1910s. He was, like Hindemith called him, "the last giant" in modern classical music before the 2nd Vienniese School; And Schönberg was also influenced by him. You can sometimes hear it in his pieces. ;)

Informative!

When I was a grad student, I had to write a piece for prepared piano. On the C,D,and E strings (c3, d3, e3) a piece of cloth, a clothes pin, and a paper clip were wedged in between those strings giving them a thud-like sound. Then came writing it down. xs with stems were written for those notes. I did not give it a name until I presented it on the stage. What did I call it? My trumpet and the bed pan. You can imagine what the stemmed notes stood for!

I studied dodecaphonic music for a while and there are instances where you can use the same note or notes more than once before ending the series. You could for example use a pedal or the same repeating note throughout the series. Anton Webern used to do this for example. That can shake things up a bit instead of randomly placing the chromatic scale with different values.

poor schoenberg, so misunderstood. if anyone asks me to recall some emotional music, schoenberg would definitely come to my mind. especially his early romantic pieces, but even atonal. his pupil berg wrote some of the most touching melodies (violin concerto, lyric suite)

Really interesting content! I've recently discovered your channel, I've been looking for a youtube channel about classic music and finally I ended upon your videos. Keep going! youre really good and funny! Have your considered to make a video about contemporany clasical music? Guys like John Cage, Philip Glass or Zbigniew Preisner? I really want to know the opinion of a music expert. Greetings from Chile, South América!

I realy like how this video was edited

Hi, I'm a nit-picker: it's not Scho - enberg, it's Schönberg! Or Schonberg. Love the ambitiousness of your videos!

Interesting period in music history. Some composers like the French composer Claude Debussy & Maurice Ravel wrote pieces that looked to the future while others like Russian composer Sergei Rachmaninoff looked to the past for inspiration and have nice sounding melodies. A Russian / Soviet composer like Dmitri Shostakovich composed pieces like Bach fugues. The story behind his inspiration went something like after he listened to a Russian pianist play a number of Bach preludes & fugues, Shostakovich decided to write similar pieces and dedicated the pieces to her.

The Mahler recording sounds like Midi.

You finally made a video about my favourite kind of Classical Music😊. I would recommend anyone who is interested in learning this type of music to watch Samuel Andreyev's channel. If you want to listen to the music itself go to the Pelodelperro and WellezCompany channels.

Very good video. I have a somewhat unique entry into my love of classical music. I came to love classical music via my love for prog-rock. But not the usual bands that people think about when they think about prog (YES, King Crimson, ELP, Genesis, etc), who were all pretty much influenced by the early 20th century classical composers. My interest in classical music came from my love of a sub-genre of progressive music known loosely as "avant-prog". These are bands (Thinking Plague, Henry Cow, Aranis, Univers Zero, Art Zoyd, and many more) that are specifically influenced by the composers of the mid-20th century, and later. So, when I first started listening to: the 2nd Viennese School, Elliott Carter, Charles Wouorinen, Joan Tower, Berio, Harrison Birtwhistle, George Perle, Thea Musgrave, etc, etc, etc, my familiarity with: constantly changing time signatures, dissonance, poly-rhythms, lack of a tonal center, etc, etc, was not a shock to me. It made perfect sense. Since I came to classical music through: modern, avant-garde and contemporary composers, I find (to my ears) earlier era composers to be: predictable, cliche sounding, and to be honest, just plain boring. And it's not for lack of trying. I often listen to the major, pre-20th century composers, with an open mind, with the hopes that it will click with me. So far, no luck.

Jazz Pianist Bill Evans also wrote atonal music Time remembered Twelve Tone Tune

Arnold Showenburg?

I quite liked Schoenburg's piece. It's broody and mysterious. I guess listening to Stravinsky preps the ear a little. Its not easy listening though. :)

You're great! thank you! You probably helped me bring my final grade up 2 letters. XD

I am no musicologist, but in my view, there is a sharp difference between Schoenberg and the other composers presented here, because, in contrast to them, he radically and systematically broke with the tonal system and created something totally new.

Thank you sooooo much for the clear and concise explanations! I'm not a music student, but I'm taking a course and the technical information can sometimes become very confusing; your videos help organize all the facts. Having said that, I was wondering if you could make one about the nationalist movement? (Béla Bartók, Jack Delano...)

How was your weading?

Also, if you had any experience when composing this kind of music, you would understand there are two and only two methods of composing. In any given texture, you can use the notes from the same row (Method A), or use the notes from two or more rows simultaneously (Method B). So if you had a melody and chords/accompaniment together, you could use the same row for all the notes (A), or use one row for the melody and another row for the chords/accompaniment (B). Those are your only choices. In Method B, notes will repeat before the other 11 have sounded. That’s the only way it can be done. This is what happens in instances such as Schoenberg’s Piano Concerto. He is using a row for the right hand melody (prime), and another row for the accompaniment left hand (retrograde inversion). That’s why the notes repeat in this instance. Other times, he is using a technique called “segmentation” where the row is divided up into equal parts and say the first four notes are used as an ostinato figure and so are repeated while another segment of the row is the melody. This is like the String Quartet No. 3 example.

You are so beautiful and smart!

Do you have favorite books about music history that you can recommend?

Do you have examples of polyrythmic pieces? I'm curious.

(cont.)...Suite for Piano Op. 25: The G in right hand bar 1 is repeated in left hand bar 2 after 6 notes have played. The Cb (B) in bar 1 left hand is repeated in the right hand bar 2 after 9 notes have played. Db in bar 1 is repeated immediately two octaves lower in left hand bar 2. Eb in right hand bar 2 repeated in left hand bar 3 after 9 notes. String Quartet No. 3: G in bar 1 is repeated in bar 2 in viola after 4 notes have played. E in bar 1 repeats in bar 2 in viola after 4 notes have played. D# in bar 1 repeats in viola in bar 2 after 4 notes have played. And on and on over and over. Variations for Orchestra: bars 3 through 18 has hundreds of examples where a note is played and reappears before all other 11 have sounded. In very obvious context and would take pages and pages to cite each occurrence. Also note the ostinato pattern of repeated notes in the cello on Variation VIII.

would've liked to hear far more examples

What, no Sibelius and Ives? But I enjoy and have learned from your videos and written posts anyway.

Thank you for this very informative and interesting presentation! When you use the word "music" we understand you mean European music (Piano). But still, if we are going to talk about linage and evolution, why not a brief mention of possible influences by non-European forms on Modernism?

I just lost my job today. Seventeen years of working for the same company that was abruptly ended with a "business decision" round of layoffs. Play a requiem for me. Sad. Uncertain future.

Was Debussy really a modernist composer, though? He might have been around in the time but his style is more romantic or classical than modern.

Schoenberg's piano concerto sounds cinematic. Was hollywood an influence?

omg im watching this on july 13th😣

Hey Allysia I'm a huge fan of the almost atmospheric quality of modernist music and I've found myself becoming really interested in pieces like in a landscape by John Cage the only problem is I'm still a fairly new player I've been play for about four months and can play at around a RCM grade 2/3 level do you have any recommendations for pieces that have at the very the same type of expression as modernist music? I've just found that I get uninterested the "typical" music for beginners. Thanks for your help!

Physically hurt my ears!!! Such a feeling of lost and confusion!

ARNOLD SHOENBURG

Hello can someone explain me in detail what are the key musical component of modernist era. I hve difficulty to understand what is she saying 😪

Isn't it pronounced "shommberg""?

Were Prokofiev and Rachmaninoff part of the modernist movement?

(cont.)...In none of Schoenberg’s writings has he ever said the “rule” you are referring to. I have his complete writings in his book “Style and Idea” which contain his two papers where he specifically explains the technique for the first time and there is no such rule. It appears nowhere in the book. If you had taken the time to analyze his most famous twelve tone works, you would realize this as well. There are multiple examples just on the FIRST PAGES ALONE of the following famous twelve-tone compositions of Schoenberg (the scores are available on youtube posts if you don’t have them, just do a youtube search): The Piano Concerto you posted: The very first note Eb in the right hand is repeated in bar 2 in the left hand only after 7 notes have played. The F in the left hand bar 1 is repeated in the right hand bar 2 after 4 notes have been played. The E in the left hand in bar 1 is repeated in the right hand bar 2 only after 6 notes have been played. Same for the next C, D, and F, and on and on.

(cont.)...Klavierstuck Op 33: D# bar 5 repeats in bar 6 after 7 notes. B in bar 8 repeats later in the measure after 7 notes. Etc. String Quartet No. 4: Bar 8 C# in Vln II repeated 2 octaves lower in Viola same bar after 5 notes. Bb in bar 9 is repeated in bar 10 after 9 notes. String Trio: Multiple examples on page 1 in all 3 instruments. If you had experience in composing twelve tone music, you would understand that the mythic “rule” you are quoting doesn’t make practical sense in composition. If you couldn’t repeat a note until the other 11 were sounded, then you would never be able to use the other 47 transpositions/forms of the row. This is because the notes change order with each transposition/form you use. So any note will ALWAYS be earlier or later when a different transposition is selected (and if later, then another note will be earlier). It cannot be done.

Not all of Schoenberg's music was atonal. Also, you cannot simply state the early criticisms Stravinsky had of the 12 tone technique without mentioning the fact that his later compositions were strictly written following.. the 12 tone technique

Started around the 1890s ended around the 1940s

Actually, the composer who "invented" atonal music was in fact Franz Liszt, not Arnold Schoenberg. Franz composed a piece called Bagatelle sans tonalité, the first completely atonal piece that we know of. He never finished the piece.

Strauss was a modernist¿

All this music still sound like normal music to me. I would say composers like John Cage, Paul Lansky or Iannis Xenakis have a less orthodox musical proposition, like check this out: kzfaq.info/get/bejne/pNx4Za6KvrDLXaM.html

it's pu-lenk (nasal en) hehehe!

4

Mahler's piece "is kind of romantic." Ha ha make up your mind, is it romantic or modernist? Just kidding, but it definitely points to the issues of language colliding with music

прекрасное видео и объяснения, жаль, что нет на русском, чтобы предложить детям)

When you're giving out good and accurate info along with inaccurate superficialities, and opining that one sort of music is 'weird,' you're essentially failing by, the very least, misleading. Some is tackling way too much in way too little time. People can get as much, more accurately, from Wiki articles.

11:36 it's kinda romantic, no shit

Impressionism and modernism are my favorite periods of music. Also, I disagree with putting jazz underneath classical music. Even though the pioneers of jazz took some inspiration from modernism, it shouldn't be lumped under classical music because for the most part the roots of jazz are pretty independent from classical music.

It is not Sch-O-E-nberg, 'OE' is actually one letter 'Ö'. It is Schönberg! The letter Ö gets written OE when there is no 'Ö' on the keyboard. It is pronounced this way: say “ay” as in 'day' and while making the sound tightly round your lips.

I don't like 12-tone music except for 2 pieces -- the Berg Violin Concerto and the score to the movie "Fantastic Voyage" (1965).

why i don't appear in this video? i should

(cont.)...For Method A, you would need to write very short pieces and use the vertical-horizontal method of assigning notes. That is too detailed to go into here, but that is what Webern did in a couple pieces. It is a very limited technique. Also, it doesn’t work in solo pieces where an instrument can only play 1 note. In that case, all you would have is an isomelody if they followed your silly “rule” because it would be the same notes over and over again in the same order throughout the piece. But professional serial composers don’t do that (see Krenek’s solo cello pieces). Also, it gives the piece the sound of randomness (random notes playing). Being able to repeat notes as shape and cohesion to the music as well as give the music identity. If you have intellectual integrity, you would post another video correcting this error. This kind of mis-information on the internet which appears to come from a reliable source is a huge problem and hurts the reputation of twelve tone music. These types of false rules gives the music the appearance of being rigid and academic when that is not the case at all. The row can actually be manipulated to suit various musical purposes (see Reginald Smith Brindle’s text).

Go Harpsichords

Rip Melody

wassup love

I feel like a lot of the modernist and postmodernist music is played out at this point. They're trying so hard to break boundaries that don't exist anymore and it's not exciting or innovative. It's just boring. It seems like they're more interested in making something 'avant-garde' rather than making music that people want to listen to.

You are dead wrong about there being a “rule” that you cannot repeat a note in the series until the other 11 have sounded when composing a piece with the row(s). That is a popular myth, but a myth nonetheless. Not repeating a note ONLY applies to CONSTUCTING THE ROW ITSELF, not when you COMPOSE THE ACTUAL MUSIC. The WIKIPEDIA page has had a paragraph about this on its entry of “TWELVE TONE TECHNIQUE” for at least a decade. It is a shame you’ve never even take the time to read it. Here it is under the heading “Application in composition”,: “Note that rules 1-4 above apply to the construction of the row itself, and not to the interpretation of the row in the composition. (Thus, for example, postulate 2 does not mean, contrary to common belief, that no note in a twelve-tone work can be repeated until all twelve have been sounded.)”

No offense, but the little ditty you use for an intro is slighly annoying and breaks the flow of your videos. Otherwise this is a great, underrated channel.

how to make modern music 1.mash your face on any instrument 2. do the worm on any instrument

Really? You really had to look at your NOTES before you could even identify Stravinsky or Mahler?! Really? OMG! And then you're just reading out of Dahlhaus's book, "Nineteenth Century Music." Good grief, Charlie Brown.

Historically interesting... but not my cup of tea.

Tf is that 😂 I couldve been played by a chimp

Who else was forced to learn about this boring crap

Argh! It sounds horrible.

modernism is so boring

be my girlfriend and help me learn piano better