The Music in the Twentieth Century Training To understand the music in the twentieth century, it is important to approach first to the nineteenth century, and especially a stream called Impressionism. This current release is an authentic, it will strive for a more individual and personal music, signing off for this in the established rules, impressionistic music is intended to highlight the impact that causes the work to be heard. Apply new chords, colors and sounds. In this music the sound will be the soul music.
Claudde Debussy (1862-1918), generate completely new ideas in the form, orchestration and was one of the most effective innovators in the history of music in the Western world.
From the break that led to impressionism, European art scene, both in art than in music will change dramatically. Every musician tends to create its independent art, in addition to the various styles will be happening at high speed.
Igor Stravinsky (1882-1971), one of the most important figures of the twentieth century. Play in his most varied aspects, investigated in all aspects of the music, he climbed on the bandwagon of neoclassicism which tries to accommodate his music to that of the late Baroque.
If anything characterizes the twentieth sigloi the break with tonality "atonality." This rule is to create a completely different music, ignoring the rules that governed for centuries señirse of a tone. First, the harmony is broken, then with the melody, rhythm and everything set.
Bela Bartok (1881-1945), Hungarian musician, is one of the music that will influence the music of the twentieth century. Bartok manages to unite the modern and traditional music, creating a new language.
Meanwhile in Italy are a number of musicians who join her music, new sound objects: the incorporation of noise. This current is called the future and affect both the music as literature and art. Futurism as a starting point makes noise, not sound.
In France, meanwhile, emerged alongside the Bruitismo (French Bruit, noise), some of that same point.
music after World War
After the 1st World War, comes a new attitude that dominates the artistic field in the next two decades. Its features are clarity, objectivity and order. Arises a desire to avoid the excesses of post-Romanticism or late Romanticism.
Some of the most important musicians of this era were the Russian musician German composer Stravinsky and Schoenberg.
Among the most talented British musicians who emerged in the decade of the 30's it was Britten, who developed his style, characterized by an eclecticism of course, a very safe technique and expressive.
In the U.S., the years following the 1st World War witnessed the emergence of the first generation of composers born in the country, including highlights Coppland, which receives the direct influences of jazz and Alvarez, who interested in introducing new sounds in his compositions.
In Latin America, the music was influenced by the European cultural tradition.
was in the late nineteenth century, when it begins to see a Latin American music itself. Almost all Latin American composers began as nationalist and gradually introduced to his music the influences of European music.
Among its most important representatives are Villalobos, Chavez and Ginastera.
music after World War II
One of the features of this war was the creation of 2 international and antagonistic blocs, Soviet communism to capitalism U.S.
This turbulent historical context, will have great repercussion in the artistic activity of the post-war, the most immediate emigration of many important musicians from Europe to the U.S. which will make this country at the center of the music and Western art.
The music developed very fast and if in the decade of the 50's dominate only 2 trends: serialism and indeterminacy, at 60, Pop Up minimalistmo, textural music, the ethnic, environmental, etc ...
Finally, a feature important cultural and musical development from the Second World War, will be the absence of a central aesthetic, plus the development of these cultures uncommon propisiara to individual development and total disconnection.
composional The spirit of the post-war, will be a great isolation between composer and audience. Now everything is based on a sequence of melodic proportions of length and Solor.
The indeterminacy is one of the most significant musical developments occurring after World War II and is based on the utiliacion intencionanda of chance in composition and / or interpretation. Many of the musicians of this movement were convinced that the music lacked purpose, so they could create musical structures such as throwing coins into the air, or using the navigation charts of any boat.
Technology Development in the Electronic Music
The first manifestation of music assisted by electronic means is the actual music. This music of the noise or natural sounds, like futurism.
In 1952, Germany created the first exclusive study of electronic music. This music is created entirely electronically produced sounds and part of what is called "sine tone, pure sound, without harmonics, which is physically unpleasant and to be produced with very complex equipment.
Among the earliest works are purely electronic Study I and II of the German composer Stockhaussen. However
think electronic music composers discontent from the beginning because even allowed a precise and controlled absolute presicion the work, this was poor and seemed lifeless. Therefore, many joined the music composers and the electronic specific to gender crearun from enjoying great popularity since then until today, electroacoustic music.
The rapid development of technology from the 2nd World War as a result will bring the incorporation of synthesizers and computer music or music created by cybernetics.
In our days, the world music scene is characterized by cultural pluralism and the emergence of popular culture and music in everyone's daily life.
The gulf between composer and audience is more pronounced today than ever and "serious" music seems to have distanced itself from the preferences of the public, more interested in the most popular music and locations such as rock, pop, etc. ..
Yet it seems unlikely that a change of the magnitude that the music has been experiencing over the twentieth century. For
music change, it seems that before the world must change again ...
contemporary classical music in the context of European classical music, contemporary music is what has been written in the last fifty years, particularly after the sixties. In a broader sense, contemporary music would be any music that is written in the present. Is the subject of a heated debate whether the term should apply to music of any style, or whether it applies exclusively to avant-garde composers, and music "modern."
has used the term "contemporary" as a synonym for 'modern', particularly in academia, while others are more restrictive and it applied only to the composers who are alive and their works. Since it is a word that describes a time frame rather than a style or unifying idea in particular, there is no universal agreement about how to make these distinctions.
There are many festivals dedicated to contemporary music, including Donaueschingen, the Huddersfield Contemporary Music Festival, or in Spain, the Contemporary Music Series Malaga.
contemporary music can be found in movie soundtracks and incidental music, as Crouching Tiger, Hidden Dragon by Tan Dun, Philip Glass The Hours, The Lord of the Rings by Howard Shore and the theme of the advertising campaign by De Beers of Karl Jenkins.
[pic] History
early twentieth century contemporary music included the twelve-tone serialism, atonality, a greater number of unresolved dissonances, rhythmic complexity and neoclassicism music. Contemporary music of the fifties generally involved some form of serialism, in the sixties, serialism, indeterminacy, and electronic music, including computer music, art mixed performance and the Fluxus group, and since then, minimalist music, and all prior posminimalista.
The more scores on the Internet. It is too early to say what the final result of the effect will this wave of computerization on the music.
All history is provisional, and contemporary history is even more due to the well-known problems of dissemination and social power. Who is "up" and who "down" is often more important than the music itself. In an era that may have, for example, no fewer than 40,000 composers of orchestral music in the U.S. only. U.S., releases are difficult, and revivals of works further. The lesson of unknown composers of the past who become famous after applies doubly to contemporary composers, which may be "first" before the official list of the first composers of a style, and his works will then be admired as examples of those styles but in his time are not recognized as such.
Movements in contemporary music
Modern Movement
Many of the key figures of the Modern Movement are still alive or have died recently, and the There is now a nucleus of composers, performers and fans who continue extremely active ideas and forms of modernism. Elliott Carter, for example, is still active, as is Lukas Foss. While large schools of modern composition, such as serialism, are no longer the center of theoretical discussion, the contemporary period is beginning the planning process all the elements of modernism in search of work valuable enough to be included in the repertoires .
Modernism is also on the surface or in works of many composers, as atonality has lost much of its ability to terrorize to audiences, and since, to film music used music sections clearly rooted in the language of modernist music. The list of assets modernist composers including Thomas Adès, Harrison Birtwistle, Alexander Goehr, Magnus Lindberg, Gunther Schuller and Judith Weir.
Postmodernism
Postmodernism is a strong influence on contemporary music. One critic noted that an easy way to find "postmodern" is to find the word "new" or the prefix neo-or post-in the name of a movement. However, in an era of media presentations, systematic and relations of power remain the dominant reality for most people born in the major industrialized nations, postmodernism seems to remain the most common mode of artistic expression.
Poliestilismo
Poliestilismo is the use of multiple musical styles and techniques, and is considered a postmodern characteristic. Poliestilísticos composers are, for example, Lera Auerbach, Luciano Berio, William Bolcom, Sofia Gubaidulina, Hans Werner Henze, George Rochberg, Arthur Rhodes, Magaly Ruiz, Frederic Rzewski, Alfred Schnittke, Dmitri Silnitsky, Valentin Silvestrov, Ezequiel Viñao, Frank Zappa and John Zorn.
Conceptualism
When Marcel Duchamp put a urinal in an art museum, was the most visible blow of Conceptual Art. A conceptual work is an act whose musical importance is derived from the framework rather than the content of the work. Conceptual music found its best representative in John Cage. An example might be the work 4 '33 "(John Cage, 1952) that consists only of silence, which introduced the famous pianist David Tudor sat at the piano without actually touching it at any time during the 4 minutes and 33 seconds. Another important work of this style is 56 Blows (Alvin Singleton) a work that has the distinction of being mentioned in a debate in the U.S. Senate. UU.
Minimalism and posminimalismo
minimalist generation still plays an important role in the new composition. Philip Glass has continued to expand his symphonic cycle, while On the Transmigration of Souls by John Adams (a choral work commemorating the victims of the attacks of September 11, 2001) won a Pulitzer Prize. Steve Reich has explored electronic opera and Terry Riley has continued an active writing instrumental music. But beyond these minimalist tropes of triadic harmony nonfunctional are now commonplace, even composers who are not recognized as minimal as such.
Many composers are expanding the resources of minimalist music to include rhythms and instruments typical of rock and ethnic music (World Music), serialism, and many other techniques. Kyle Gann considers the Time Curve Preludes by William Duckworth as the first piece "posminimalista" and regarded as a composer John Adams' posminimalista "rather minimalist. Gann defines "posminimalismo" as the search for greater harmonic and rhythmic complexity by composers such as Mikel Rouse, Roberto Carnevale and Glenn Branca. The posminimalismo is also an artistic movement in painting and sculpture that began in the late sixties.
key
posclacisista
Another aspect of postmodernity can be found in the key 'posclasicista "who are dedicated to composers such as Michael Daugherty and Tan Dun.
Eclecticism
With a wide range of performance styles, combining many contemporary composers working style, a technique called poliestilismo, or even combining multiple genres. A highly influential composer of this type is Frank Zappa, and in circles more jazzy John Zorn.
Experimentation
An important movement in contemporary music involves the expansion of the gestures available to the instrumentalists, such as in the work of George Crumb. The Kronos Quartet are among the most active joint promoting contemporary music for string quartet, and revel in music that stretches the ways to get sounds from their instruments.
Electronic Music
emerged in the mid fifties, with the use of electronic oscillators. Not to be confused with the "music electronic pop "(from the eighties, post-rock, electric guitars, etc..) nor the one created by a computer or sequencer to the required speed and accuracy impossible for a human interpreter.) Electronics is now part of the mainstream of music creation. The interpretation of works now often use midi synthesizers to accompany or replace some musicians or instruments. loopeo processes, sampling (sampling) and employment (rarely) electronic drum is also included. However, the old idea of \u200b\u200belectronic music-sound as a pure search and interact with the computer itself- continues to find a place in the composition, from commercially successful pieces to works targeted at very select audience.
romanticism
The resurgence of the vocabulary of the new key that flourished in the early twentieth century continues in the contemporary period, although not considered shocking or controversial as such. Composers working in the neo-romantic vein are, for example, George Rochberg and David Del Tredici. At the end of the century and early twentieth century, found a new resurgence of romanticism in Europe.
Neotonalismo
The neotonalismo emerged in the second half of the twentieth century as a reaction to the atonality. Within this genre are included composers who use the key again after it was largely sidelined by the currents of contemporary atonal gender. The neotonalismo is a broad movement that unifies and mixing different styles, among which may be cited as subgenera of it, eclecticism (or poliestilismo) and the romanticism listed above. Neotonal same composer can be counted within the neo-romantic music production work, electronic or Eclectro. In this genre also used modern techniques such as electro- and appear to outside influences, traditional and classical music can be jazz, film music, ethnic, and even the twentieth century atonality, giving not only a great richness to this type of composition but a freedom of expression that was truncated with the imposition of the purely atonal in the second half of the century. There are many composers who having started atonal compositions in the area have returned to this form, including traditional items that are of greater public acceptance. Suffice as examples of contemporary composers neotonales those above: John Corigliano, John Rutter, Arvo Pärt, Henryk Górecki and Astor Piazzolla. And the English Pedro Iturralde, Manuel Alejandre, John J. Colomer and Roman Alis.
Free improvisation
Free improvisation or free improvisation improvised music is in many cases without pre-established rules, sequences of chords or melodies previously agreed. Sometimes the musicians make an active effort to avoid reference to recognizable musical genres. Free improvisation, and style of music developed in Europe and the U.S. in the middle and late 1960 in a lot in response to or inspired by the movement of free jazz and contemporary classical music. Among top artists within this style are the saxophonists Evan Parker and Peter Brötzmann, guitarist Derek Bailey, and the British improvisational group AMM.
New Complexity
The New Complexity (New Complexity English) is a tendency within the contemporary scenario of the European vanguard. Among these diverse groups have a Richard Barrett, Brian Ferneyhough and Michael Finnissy. Another is the spectral music, epitomized by the works of Tristan Murail, Gerard Grisey, Shigeru Kan-no and Claude Vivier.
post-centipede Music
Music centipede is a post-European-American current which takes place in Brussels, Belgium from 1998, then in Montreal, in Córdoba (Argentina) and Santiago de Chile. This music is characterized, such as centipedes, mobility and independent systems, of course, belong to the same animal. Among the major composers of the movement we have David Nuñezañez, Juan Carlos Tolosa, Pierre Kolp, André Ristic, Alejandro Guarello.
Classical
twentieth century classical music (cultured or academic) of the twentieth century was extremely diverse, beginning with the late Romantic style by Sergei Rachmaninoff and the Impressionism of Claude Debussy, and reaching sound worlds as far apart as integral serialism of Pierre Boulez, the simple harmonic triad of minimalist composers like Steve Reich and Philip Glass, the musique concrete of Pierre Schaeffer, the microtonal music adopted by Harry Partch, Alois Haba and others, the sound experiments without shade of Edgar Varèse, random music of John Cage and the elegant and popular composition by György Ligeti.
Among the best known composers of the twentieth century may be mentioned:
• Béla Bartók.
• Benjamin Britten.
• Aaron Copland.
• Claude Debussy.
• Edward Elgar.
• Charles Ives.
• Gustav Mahler.
• Olivier Messiaen.
• Sergei Prokofiev.
• Giacomo Puccini.
• Sergei Rachmaninoff.
• Arnold Schoenberg.
• Dmitri Shostakovich.
• Richard Strauss.
• Igor Stravinsky.
• György Ligeti.
• Karlheinz Stockhausen.
Classical music also had an intense fertilization crossed with jazz, with many composers can work in both genders, including George Gershwin. An important phenomenon of the twentieth century was the mixture of traditional and cutting edge, with several prominent figures in a world considered minor or unacceptable in another. Composers such as Anton Webern, Elliott Carter, Edgard Varèse, Milton Babbitt and Luciano Berio had a devoted following in the lead, but were often attacked outside of it. Over time, however, has gradually accepted, though not universally, that the categories are more flexible than some controversy would have us believe: many of the techniques pioneered by the composers mentioned above, used in popular music through artists and bands like The Beatles, Pink Floyd, Mike Oldfield, Nirvana, Frank Zappa, Radiohead, music and films that attracted large audiences.
Please note that this article presents an overview of the twentieth century classical music, and many composers mentioned in different trends and movements may not identify exclusively with them, and may be considered as participating in different movements. For example, at various times in his career, Igor Stravinsky can be considered romantic, modernist, neoclassical and serial.
The twentieth century was also a time in which the recording and broadcast changed the social and economic relationships inherent in music. A nineteenth-century person could know some composers, or listen to performances of his works in vivo. A twentieth century in the industrialized world had access to radio, television, phonograph, and later a digital music CDs.
[pic] Post-Romanticism (1890-1949)
Particularly in the first part of the century, many composers wrote music that was an extension of nineteenth-century romantic music. The harmony-but more complex, was tonal, and traditional instrumental groupings, as the orchestra or string quartet remained the most common (see "Romantic Music").
Many prominent composers, including Dmitri Kabalevski, Dmitri Shostakovich and Benjamin Britten, made significant advances in style and technique as they continued using language melodic, harmonic, structural and textural related to the nineteenth century, accessible to the average audience.
music was written this trend through the twentieth century and continues to be written today. Other composers of the twentieth century who composed works in a more traditional language are:
• Samuel Barber • Leonard Bernstein
• Aaron Copland • John Corigliano
• George Gershwin • Henryk Górecki
Many other composers of the twentieth century took more experimental paths.
Modernism
is given the name of modernism to a series of movements based on the concept that "being the twentieth century a time of fundamental social and technological changes, the Arts should adopt and develop these principles as aesthetic grounds. Modernism takes the progressive spirit of the late nineteenth century, its attachment to the rigor of advanced technology, and lift it off the rules and formalities of the art of the time.
To take one example, architect Frank Lloyd Wright did his projects with drawing tools, not because he could draw freehand, but because "the machine is what is coming, so I need to create beauty with the machine." Various movements in twentieth century music, including neoclassicism, serialism, experimentalism and conceptualism tended to the concept.
Second Viennese School, atonality and serialism
One of the most important figures in twentieth century music Arnold Schoenberg. His early works belong to the late Romantic style, influenced by Richard Wagner and Gustav Mahler, but eventually abandoned the system of tonal composition, to write atonal music free. Is recognized as the first composer who did this. Over time, he developed the twelve-tone technique, proposing to replace the traditional tonal organization.
His students Anton Webern and Alban Berg also developed and furthered the use of twelve-tone system, and highlighted by the use of such technology under its own rules. All three are known colloquially as The Trinidad Schoenberg, or the Second Viennese School. This name was created to highlight New music that had the same effect innovative First Viennese School of Haydn, Mozart and Beethoven.
The music of Schoenberg and his followers was very controversial in his day, and remains so even to some extent. Lacking a definite sense of melody, some listeners were-and still are, difficult to follow. However, it is currently still playing, studying and listening to works such as Pierrot Lunaire, while other contemporary compositions have forgotten that once were considered more acceptable have been forgotten. To a large extent, the cause of this is that his style was very influential pioneer, even among composers continued to compose tonal music. From them, many composers have written music not based on traditional tonality.
twelve-tone technique was later adapted by other composers to control aspects of music other than the pitch of notes, as the dynamics and methods of attack, creating music completely serial. Milton Babbitt created temporary scoring system, where the temporal distance between the point of attack of the notes is also serialized. Some composers serialized aspects such as registration or dynamics. Pointillist style of Webern, in which individual sounds are cuidadosasmente located on site so each has importance, was very influential in the years after World War II from composers such as Pierre Boulez and Karlheinz Stockhausen.
Ironically, after years of unpopularity, the twelve-tone technique became standard in Europe during the fifties and sixties, but then suffered a setback when young and old generations of composers returned to writing tonal music, either in their variants neoclassical, romantic or minimalist. Stravinsky, who studied as a young man with Nikolai Rimsky-Korsakov became modernist neoclassical then, and later dabbled in serialism from Schoenberg's death.
free atonality and experimentation
early twentieth century modernist composers as George Antheil and other amazing music produced for the hearing of the time for its disregard for musical convention. Charles Ives popular music often combined with multiple layers or bitonal music, extreme dissonance, rhythmic complexity and a seemingly unenforceable.
Henry Cowell performed his solo piano plucking the strings of the piano, hitting the box, or pressing keys with their hands and other objects. Edgard Varèse wrote pieces that use sounds high dissonance unusual and futuristic sound and scientific. Charles Seeger enunciated the concept of dissonant counterpoint, a technique used by Carl Ruggles, Ruth Crawford Seeger, and others. Igor Stravinsky and Sergei Diaghilev tune the noise that greets the Rite of Spring, choreographed by Vaslav Nijinsky. Darius Milhaud and Paul Hindemith bitonality explored. Amadeo Roldán introduced music written specifically for percussion ensembles in the classical tradition, was soon followed by Varèse and then another. Kurt Weill wrote the popular Threepenny Opera in the popular language of German cabarets. The modernist avant-garde composers have written to often atonal works, sometimes explored twelve tone, dissonance freely used, or imitated included popular music, or any other action that would cause your audience.
Neoclassicism (1920-1940)
Neoclassicism in music refers to the movement of the twentieth century took up a common practice harmony, mixed with large dissonances and rhythms as a starting point for composing music. Igor Stravinsky, Paul Hindemith, Sergei Prokofiev and Béla Bartók are usually the most important composers mentioned in this style, but also the prolific Darius Milhaud and his contemporary Francis Poulenc.
Neo-classicism was born at the same time as the general return to rational models in the arts, in response to the first world war. Smaller, more limited, more orderly trends were designed in response to the emotional saturation that many felt had pushed people into the trenches. Given that economic problems favor smaller groups seeking to do "more with less" has become required practice accordingly. The Soldier's Tale Stravinsky is for this reason a neoclassical piece seed, as also in the concert Dumbarton Oaks, in his Symphony for wind instruments or the Symphony in C. The culmination neoclassical Stravinsky is his first march of the skull ("Rake's Progress"), with a libretto by the well-known modernist poet WH Auden.
For a time, the German Paul Hindemith was a rival of the neoclassical Stravinsky, mixing sharp dissonance, polyphony and free chromaticism within a utilitarian style. Hindemith was orchestral and chamber works in this style, perhaps the most famous of them is Mathis der Maler. His output includes his Sonata camera for Horn, an expressionistic work filled with dark detail and internal connections.
Neoclassicism found an interested audience U.S., the school of Nadia Boulanger promulgated musical ideas based on understanding of the music of Stravinsky. Among his students are neo-classical musicians like Elliott Carter (in his first season), Aaron Copland, Roy Harris, Darius Milhaud, Astor Piazzolla and Virgil Thomson.
The most audible feature of neoclassicism are melodies which use the third as a fixed interval, and add ostinato chromatic dissonant notes, harmonics and mixing blocks free of polyrhythms. Neo-classicism won greater acceptance of the audience quickly, and was internalized by those opposed to atonality as the true modern music. Neoclassicism also agreed to use folk music for greater speed and harmonic variety. Modernists such as the Hungarian Béla Bartók, Zoltán Kodály (affection to Romanticism) and the Czech Leoš Janáček met and studied the national folk music, which later influenced his work.
postmodernist Music
Birth of postmodernism
Postmodernism can be considered a response to modernism which defends the products of human activity-particularly those manufactured or artificial, as the central subject of art same, and the idea that the purpose art is to focus public attention on objects for contemplation, as the critic Steve Hicken explained.
This theory of modernism back to school exemplified by Duchamp Dada and the collage of musique concrete, as well as experiments with electronic music of Edgard Varèse and others. However, postmodernism argues that this was the primal mode of human existence, individual diving in the sea of \u200b\u200bman's production.
John Cage is a prominent figure in twentieth century music, his influence was growing in his lifetime, and today is remembered by many as the founder of postmodern music. Cage questioned the same definition of music in his pieces, and insisted on the philosophy that all sounds are essentially music. In his 4'33 "confronts the listener with his idea that the sounds are so musically unintentional good as those caused by an instrument. Cage also used substantially random music and sounds found in order to create a style of music interesting and different. His music not only based on the argument that there is "music" or "noise" but only "sound" and found the combinations of sounds are musical, but also the importance of focusing attention and the " invention " as essential to art.
Cage, however, has been hailed by some as too avant-garde in their approach and for this reason, many find their music unfriendly. It is interesting to note that the apparent opposition to the indeterminism of Cage, the superstructure of the serialists music, has produced similar-sounding pieces, including many serialists such as Pierre Boulez and Karlheinz Stockhausen used random procedures. Michael Nyman says in experimental music that minimalism was a reaction generated by and against serialism and indeterminism. (See also experimental music).
Postmodernism found the music and painting at a time very similar, on one hand the simplicity, purity, love for mechanics, abstraction and the plot in which many modernist features were preserved, as the emphasis on individual style and experimentation. However, postmodern hermeneutics rejected the request of modernism (the need to be in the environment of modernism). Instead, postmodernism takes the popular and aesthetic down to its guide. One of the first movements that broke with modernism was inspired by the work of Cage, and his emphasis on layered sounds: minimalism.
Poliestilismo
Poliestilismo is the use of multiple Musical styles or techniques, and is considered a postmodern feature starting late twentieth century and is accentuated in the XXI century. It is important to distinguish between eclectic, which is that of someone who collects material from different sources so poliestilista passive attitude, which is to merge the sources who consistently, deliberately ... own. The composer used poliestilista not necessarily canon of style and technique in one job but in all his work says different "styles." This current, despite having been anticipated in an early trend that brought together elements of folk or jazz in classical works, is indeed developing since the late twentieth century, and the more and more styles come into play in the new century, the movement is becoming increasingly important and diverse. Poliestilistas composers have usually started his career in a stream to move to another while keeping important elements of the previous. Composers
poliestilísticos are, for example,
• Julian Anderson,
• Lera Auerbach,
• Luciano Berio, William Bolcom •
,
• Sofia Gubaidulina,
• Hans Werner Henze,
• George Rochberg,
• Arthur Rhodes,
• Magaly Ruiz
• Frederic Rzewski,
• Alfred Schnittke, Dmitri
• Silnitsky,
• Valentin Silvestrov,
• Sosa Santiago Rolon.
• Ezekiel Viñao,
• Frank Zappa,
• John Zorn,
Minimalism (1960 -...)
Several composers of the late twentieth century began to explore what we now call minimalism. The more specific definition of minimalism with respect to management of the processes in music where the fragments overlap each other in layers, often are repeated to produce the entire sound pattern. Early examples included in C (Terry Riley) and Drumming (Steve Reich). The first of these works was that Riley was considered by many the father of minimalism, is a piece made up of compressed melodic cells that each performer in an ensemble plays at their own tempo. Wave-minimalist composers Terry Riley, Mike Oldfield, Philip Glass, Steve Reich and La Monte Young, to name the most important, they wanted to make music accessible to the common listener, expressing specific and concrete issues of how dramatic and musical without hiding under technique, but rather making them explicit.
A key difference between minimalism and the music-on is the use of different cells "out of phase", a taste of the performers, compare this with the opening of Das Rheingold by Richard Wagner, where despite the use of triads of cells, each part is controlled by the same impulse and moving at the same speed.
Minimalist music is controversial for traditional listeners. His critics are too repetitive and empty, while its supporters argue that the fixed elements that are often more interested in permanent produce small changes. Anyway, minimalism have inspired and influenced many composers not usually labeled as minimalist (as Karlheinz Stockhausen and György Ligeti). Composers such as Arvo Pärt, Henryk Górecki and intravenous Joh, whose Symphony No. 3 was the best selling classical album in the nineties, found great success in what has been called "happy minimalism" into works of profound religious sense.
The next wave of composers who entered this minimalist style are not called by some, but by others. For example, the opera composer John Adams and his student Aaron Jay Kernis. Miminalismo expansion of a musical texture dependent music to accompany the movement has generated a variety of compositions and composers.
Electronic Music
Technological advances in the twentieth century enabled composers to use electronic means to produce sounds. This can take many forms: some composers simply incorporated electronic instruments into relatively conventional pieces. Olivier Messiaen, for example, used the ondes Martenot in a number of jobs.
Other composers abandoned conventional instruments and used magnetic tape to create music, record sounds, and manipulate them in any way. Pierre Schaeffer was the pioneer of this music called musique concrete. Some figures such as Karlheinz Stockhausen, pure electronic media used to create their works. In EE. UU., Milton Babbitt used the RCA Mark II synthesizer to create music. Hymnen (Stockhausen), Déserts (Edgard Varese) and Sync (Mario Davidovsky) offer a few examples. (Although sometimes interpreted Deserts is currently without the tape). Oskar Sala
created the track the music for the film The Birds (Alfred Hitchcock) using trautonium, an electronic instrument he helped develop. Morton Subotnick provided electronic music for 2001: A Space Odyssey.
Some electronic works generally remembered as such in the classical tradition include Film Music (Vladimir Ussachevsky), A Rainbow in Curved Air and Shri Camel (Terry Riley), Silver Apples, The Wild Bull and Return (Morton Subotnick), Sonic Seasonings and Switched-On Bach by Wendy Carlos, Light Over Water (John Adams), Aqua (Edgar Froese) and Poem-mail (for Edgard Varèse).
Iannis Xenakis is another modern composer who has used computers and electronics (including one invented by him) in many compositions. Some of these electronic works are pieces gently acclimated, and others show a violent and savage tone. Composers as Alvin Lucier, Gordon Mumma and David Tudor created and performed live electronic music, often designing their own instruments or using tapes. Flourished in the twentieth century a number of institutions specialized in electronic music, with IRCAM in Paris perhaps the best known.
compositions influenced by jazz
A number of composers language combined elements of jazz with classical styles. Some notable examples are:
• George Gershwin, Rhapsody in Blue
• Claude Debussy Golliwog's Cakewalk (from Children `s Corner, 1908)
• Maurice Ravel, Piano Concerto in G
• Maurice Ravel's Piano Concerto in D
• Maurice Ravel, Sonata for violin and piano
• Igor Stravinsky, Ragtime for 11 instruments
• Paul Hindemith, 1922 (Suite for Piano)
• Kurt Weill, Threepenny Opera (Opera, 1928)
• Ernst Krenek, Jonny spielt auf (1926)
• Bruce Arnold, A few dozen (1955) • Elie Siegmeister
, Clarinet Concerto (1956)
• Malcolm Arnold, Sixth Symphony (1967)
LIDDELL, AGAINST ALL 
