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CURRENT CENTURY MUSIC XX

IMPRESSIONISM

is an artistic movement that tends to the immediate representation of impressions or sensations experienced by the artist. The Impressionist collection is the immediacy of printing momentary. represents the triumph of the moment of lasting value.

There is a close parallel between the work of Debussy, the musical impressionist, and their contemporaries, the French impressionist painting, in fact, the term comes from the French painting of the mid-nineteenth century, cuando un grupo de pintores adscritos a la nueva corriente se reunió para hacer una exposición. Entre las obras expuestas se incluía una de MONET , denominada " Amanecer, Impresión" , que representaba un puerto entre las brumas matinales. Uno de los críticos, L. LEROY , encontró el título particularmente estúpido y el en diario satírico "Le Charivari" , denominó a todo el grupo, LOS IMPRESIONISTAS.

El término Impresionismo viene definido en el WEBSTER`S DICTIONARY como " el estilo de composición destinado a crear impresiones descriptivas mediante the evocation of moods, using harmonies and rich and varied timbres.

musical Impressionism, not about expressing feelings, not about telling an argument, but tries to evoke a mood, an atmosphere, support and occasional suggestive titles.

musical Impressionism used melodies, harmonies, timbres, rhythms and formal principles that make the musical language is different from the German Romantic tradition.

Harmony loses its contrapuntal origin. There is no fundamental difference between the types harmonic chords, but only a difference of timbre: the 7 th and 9 th are chained as well as the chords perfect.

A TONAL UBIQUITY , as it is at once everywhere and tones. There are chain of chords belonging to the distant tones; Pantonalismo certain sound aggregates. There are instrumental break in continuity that reveals the pure timbre and thematic material. CLAUDE DEBUSSY

welcomed in his search for a particular climate and an atmosphere that leads to new research at the sound, where the Bell dominates melodic and harmonic factors. Use

new series of chords, whole tone scales introduced, quite pronounced chromatic and pentatonic and modal melodies.

Debussy orchestral music requires a great orchestra, but rarely uses it to get a strong sound. Uses muted strings, horn and trumpet with mutes and generally pianissimo. Another source of color, used by Debussy is the percussion, the most varied types.

On the piano, the chord structure is accompanied by figurations and mixing of sounds with the use of the damper pedal.

in harmony is the main attraction. The line disconnected from any meaning with respect to tonality. Debussy uses atonal scales, using the whole-tone scale. The keynote loses its meaning and major and minor keys are suspended.

chords no longer play a role in the shade, has only its peculiar sound, controlled only by the composer's ear.

His new style, free of scholastic rules, begins to emerge, from the "String Quartet" , but will be with "Prelude to the Afternoon of a Faun" for orchestra, his first success and the first work that has already distinctive harmonies of impressionism with its sensual and flattering, leading the listener's mind the impression of heat, scent of flowers and forests.

Tiene tres Nocturnos para orquesta: "Nubes", "Fiestas" y "Sirenas" , en el 3º de los cuales interviene un coro femenino que vocaliza sin palabras para expresar mejor la atmósfera de vaguedad tonal e indefinición.

La consagración definitiva del Impresionismo será su Ópera "Pelleas et Melisande" , la cual fue a su vez el golpe al Wagnerianismo; se despoja de cuanto sepa a antigua ópera.

El "Mar" para orquesta, en tres partes, cuyos solos títulos, unidos por ideas musicales comunes, son ya suficientemente evocativos: "Del alba al mediodía", "Juegos Wave, "" Dialogues of Wind and Sea ".

But in " Images " , a purely impressionistic works, where the most famous of the 3 parties," Iberia "is how a tribute to Spain, whose songs and dances known only read about. He confesses to FAILURE had no intention of English music, but to translate into music the impression that Spain aroused in him.

The heyday of Impressionism in effect strict was very brief. You could say that begins and ends with Debussy, although, as in all historical evolution, are not exempt from some of his influences muchos músicos como Ravel o Falla.

LA MÚSICA DE PIANO DE DEBUSSY

La obra para piano de Claude Debussy es, sin duda, su mejor tarjeta de presentación y una de las mejores maneras de iniciarse en su especial universo sonoro. Sus raíces nos son familiares: desde Couperín y Rameau , pasando por Chopin , La línea no resulta en absoluto desconcertante.

Pero la realidad artística de Debussy es tal que estas tradiciones conducen en él a efectos extraños. Debussy es siempre un poco relativo, pues suele tocar zonas desconocidas de la sensibilidad.

Es un compositor de colores, sensations, out of sentimentality so dear to the Romantics. It has the rare ability to create an atmosphere, immersing the listener in it and wipe it possible defensive efforts. Debussy distrust only those who are not willing to be seduced by their drugs.

Debussy

As a pianist, had an early and comprehensive training. Initially entrusted to a pupil of Chopin, came after ten years at the Conservatoire de Paris with Marmontel for the piano. But it began composing for the instrument to be sufficiently high recognition as a composer, apparently fleeing a virtuoso-composer. In a thirty-five years written almost eighty pieces (80 pieces) for two hands, not to mention enough for four hands.

Debussy's work is full of pictorial descriptions, and that their treatment is mainly visual sounds. Since the poem of Mallarmé who suggested his masterpiece, which starts without a doubt the musical horizon of the twentieth century, "Prelude to the Afternoon of a Faun" , which would be called "Claude de France" inaugurates a series of pieces in which the plastic suggestion extramusical be as large or larger than that based purely on sound. The collection

of "Three Estampes" , Debussy found a less esoteric, more devoted to painting pictures suggest through its sound characteristics. The work was premiered by Ricardo Vines in 1904. Pagodas

is directly connects with the experiences he had Debussy in 1899, at the International Exhibition of Paris, when he came into contact with the gamelan, the ensemble typical of Javanese music. It is dominated by percussion instruments of fixed intonation, like the xylophone, bells and bongos. Rhythmically, everything is complicated. In mode, the current level is the pentatonic, as you get playing only the black keys of the piano. This scale is closed in itself, and every melody has always felt, he always suggests a hue and end on the tonic. This is clearly visible in movies, oriental atmosphere in which the practitioner uses this scale shift as a basis for giving the background sound easy adequacy to the environment.

But Pagodas, Debussy's compositional procedure goes far beyond just typical, because the piece is full of emotion and expressiveness. Both hands move smoothly on the keyboard. The first theme, light and responsive, with a sharp rises to follow syncopated. Combining diverse rhythms, as is typical gamelan, always with syncopation, enters a new item, great and hieratic, which returns again and again, one in fortissimo, stressing on the bass notes that seem sound of bongos. The two themes appear again and gradually varied images become more fantastic, arpeggiated passages, light and sinuous accompany the second reason is extinguished in a pianissimo incredible, until the last note, vibrating in the air, it dissipates The exotic atmosphere of this temple, reminiscent of strange and distant atmospheres.

As "Soirée dans Grenade" , won by Manuel de Falla's rating "the best English music written by a composer not English and able to arouse the envy, the piece that best contains the distilled essence of genuine Andalusian atmosphere" . And we must bear in mind that, contrary to Ravel, Debussy never visited Spain or felt connected to this country in any way. The work has a habanera rhythm. There are passages that evoke rapid flamenco. A powerful crescendo leads to a glittering explosion sounds festive. There are variations and other songs are intertwined. Finally, we hear again the initial plea and the piece ends with touches like a touch away.

At first glance, "Late Granada "seems a simple piece of living room, whose music tries to imitate the sound of some exotic dancing (a type of composition often used by popular composers of the century). Although the atmosphere and the dotted rhythm characteristic of the SPANISH HAVANA, help to provide a different taste to the music, it is also a score full of subtlety. Its overall shape is centered around three units melodic, relatively large, distributed symmetrically:

ABCB 'A'

Compasses: A. ........ .... 7-16

B. ............ 38-60

C. ........... 67-77

'........... B 98-106

A'........... 122-136

A unifying element of the diversity of the melodic material is almost constant, habanera rhythm. Introduced in the early stages of the work is maintained throughout the expansion phase is performed by the pitch range of the piano (an obvious example of Debussy's interest to expand the sound recording). Even when it disappears (as in bars 17-20 and 76-77), this ostinato accompaniment seems to continue below the surface of the score.

tonal content, seen as a whole, also is consistently structured.

A scale is based on a symmetrical "exotic"

The upper voice in bars 17-18, (accompanied by parallel chords of the dominant seventh), defines a modal scale whose four top notes form a segment equally symmetrical whole-tone, identical to the corresponding segment of the scale exotic ecepto by the fact that my natural substitute for E #

In measures 23-28, we find a segment consisting of tones whole, except in its final diatonic appearance.

Jardins sous pluie gives you what the title promises. Children playing, storm sudden, quick shelter indoors. Two children's issues are intertwined, a nanny and a tune, both very popular in France (Dodo, l'enfant do and Nous n'irons plus au bois) . It is curious that is the subject of the nanny who, suitably amplified, serve as the background to the heavy rain that falls, while the second is played when the rain is silent and smooth. In the center line happen slow, mysterious. Until it explodes with light the first issue, with which, in the treble region, concludes the work with unquenchable brilliance. RAVEL

The name of Maurice Ravel (1875-1937) is often associated with that of Debussy. Paris belonging to the same environment, were shaped by the same elements, and Ravel himself speaks of his debt to Fauré, Chabrier, Satie, Poe and Mallarme. However, the music of Ravel differs in many respects from that of Debussy. The difference is other features closer to the spirit of the eighteenth century, its melodies and precisely defined ways, and a more traditional use of tonality and dissonance. His melodies are much clearer as ringtones those of Debussy, is also lyrical and often diatonic or modal in nature, although they are sometimes chromatic harmonies subtly nuanced.

There are still more differences. Ravel uses very little melody or harmonies based on the scale of whole tones preferred by Debussy. Ravel, rarely resolves the dissonance of chords more complex as merely juxtaposing sounds. Dissonance or novel sounds, Ravel's harmonic progressions determine a key or key. Someone has said that the music of Ravel comes from the dance, and the correctness of this expression can be seen in numerous examples of specific dances and formal ballets, Daphnis and Chloe (1912), Bolero (1928), The Valse (1920). Dance features are the "Malagueña" and "Habanera" from the English Rhapsody for orchestra (1908), and "Pavane for a dead princess." His English heritage is evident in some other works, such as English Hour (1911). The Suite Mother Goose (1908). This piece incorporates the exoticism of the pentatonic scale and especially the sounds of gamelan (orchestra) Javanese, which shows that the Paris Exposition of 1869 produced a deep impression on Debussy and Ravel.

Finally, we can not overlook the genius of Ravel which shows so lofty in his fantasy in an act The child and the spells (1925). Ravel

requires the use of the three piano pedals (including the pedal "central") to produce sounds whose effect is actually conducting. It is significant that needed three staves of sheet music for piano, to put the notes and indicate the desired effects. Ravel had a knowledge of the orchestra and did an extraordinary array of brilliant effects and evocative in their own works (eg Danis and Chloe, and the suite Mother Goose) and arrangements of music by other composers , especially Pictures at an Exhibition, Mussorgsky, orchestrated by Ravel.

Ravel was never, nor intended to be, an impressionist or symbolist as Debussy's Pelléas et Melisenda . However, he demonstrated his ability to write pieces Impressionist masterpieces. We also have the classicism of his chamber music, the blues in jazz Sonata for Violin and Piano (1927), and the pulsating rhythms of Bolero . Ravel is now one of the composers 'modern' favorite and most played. His music covers a variety of atmospheres and shapes, all carefully composed and orchestrated with the genius and the virtuosity of a master.

REACTIONS: SATIE

The music of Erik Satie (1866-1925) can be considered in some ways as a reaction against Impressionism. Satie practiced a studied simplicity in the rhythm (including notation without bars), in melody and harmony. A melody of simple negligence may be accompanied by unexpected harmonies, even polytonal. However, Satie is a clarity and precision of genres that in itself is a negation of the impressionism of Debussy.

remarkable thing about the humorous vein of Satie, say, is its originality. There were also some satirical or confusing in its humor. When Debussy complained the absence of form in the music of Satie, he brought " trois morceaux en forme of poire (á quatre mains)" (1903), which literally means "three pear-shaped pieces (for four hands)" . Satie was a prickly individual with the typical character of the joker.

Satie was linked to intimpresionismo by Jean Cocteau (1891-1963), poet, playwright and artist. In his book Coq et Arlequin (1918), Cocteau Wagnerism and also rejects the impressionism of Debussy, which considered the French equivalent of Wagnerian. At the same time, draws Cocteau Satie as an apostle of their creed: Clarity, order and accuracy or, put another way, "after the music of subtle touches, the music with an ax" (Cocteau).

Satie never attracted large audiences, but no doubt a great influence on the younger French composers.

Impressionism can be seen in part as a continuation of certain features of nineteenth century romanticism (eg, subjectivity and the importance of the effect), and partly as a reaction against that movement, which culminated in the twentieth century some quite new. In this sense, the musical impressionism and played a key role in transition, and the position of Debussy was somewhat similar to that of Monteverdi and Beethoven in the past, both of which provided a bridge between two centuries and two different cultural epochs.

Anyway, the romance had ended. He had thoroughly explored the old system of tonality, and the horizon, seemingly limitless, highlighted by Beethoven, had attained. After Brahms, Wagner and Verdi, all music conceived in those terms seemed an anticlimax compared to the heights reached by these musicians. Inevitably there is a change in the early twentieth century, and during the first decade, the old lights were extinguished one by one, as is also extinguished on the political scene. For better or for worse, it was necessary to emerge something new. I was in the air, and the romantic era, and his splendid tour course, led to an entirely different character music, image of a new era and another way of feeling.

dodecaphonic

SCHÖNBERG

Arnold Schoenberg (1874-1951) . Although in his early work is seen the deep impression of the past resulted in the influence of Brahms and Wagner in Vienna together with his students, was gradually producing a musical revolution as universal significance, que ningún compositor actual puede dejar de reconocerla y de toparse con ella tarde o temprano. Schönberg fue uno de los primeros en mostrar el camino hacia la “emancipación” de la disonancia y hacia la liberación de la música del sometimiento aparentemente ineludible a la tonalidad. Estos cambios significaron un desafío a tres siglos de orden establecido, en los cuales la consonancia se distinguía perfectamente de la disonancia, y en los cuales toda pieza musical se organizaba, por lo general, en torno a un tono.

En realidad, no existe base científica alguna para establecer una división absoluta entre consonancia y disonancia. Estas distinciones se basaron, en un principio, en las consideraciones estéticas of each individual era or composer. A "dominant seventh" was dissonant to Palestrina in the sixteenth century, but it was not for Monteverdi in the early seventeenth century. Noting that the notes "dissonant" may more properly be called "less consonants," Schönberg "emancipated" dissonance theory, breaking down the distinction between consonance and dissonance and, in practice, many combinations of letters used seemed appropriate without in encounter how "dissonant patterns were as above" (see eg. 149th.). dissonance and did not need to be resolved accordingly. In short, to Schönberg and his followers, the distinction between consonance and dissonance ceased to exist.

At the same time, from the chromatic scale and harmony established by the use of Wagner and others, Schönberg was gradually established a method of composition with twelve tones cromáticso of the eighth, so that all shades were equally important. This method, which in 1923 reached its finished form, was openly opposed to traditional tonality, in which a tone was the musical center of gravity.

This "revolution" deserved to be considered quite a few different ways by different circles of the music community. For most of the audience the music of "dissonance" unlimited and lack of shade was often incomprehensible experience that tore the ears. The fact that Schoenberg and his circle were forced to start in Vienna Society for private musical performances "(1918) in order to secure an audition for her new music is something that speaks for itself. For professional musicians, especially for composers, the new possibilities created by the music of Schoenberg and his colleagues represented a revolution almost limitless horizons. However, it refused to Schoenberg called revolutionary, saying more it was an "evolutionist." According to him, had invented the twelve-tone method, but simply had discovered something I was hoping someone would take it out to light. No doubt that his view was correct in the sense that color extended use of Wagner and his successors. However, since the beginning of his career, the music of Schönberg seemed revolutionary to the public by the extreme nature of its melody, its dissonance and its themes. And no doubt, have seen more clearly and accurately its evolution from the past, Schönberg was an experimenter and a true innovator of such dimensions, it was inevitable that the "method of composing with twelve tones" was regarded as something new and edgy, though it has emerged as a later manifestation of the natural tendencies of the composer.

Between the years of 1915 to 1,923, Schoenberg , did not compose any work, it was immersed, after their first experiences atonal, to invent a serious and rigorous method of non-tonal composition, which is the twelve-tone with called "method of composing with 12 sounds just interrelated."

dodecaphonism

The name is due to René Leibowitz that initiated a series of twelve-tone composers in the composition or system of 12 sounds that are unrelated to each other.

should tell that the twelve-tone Schoenberg's Atonal , but the fact of using a twelve-tone technique does not necessarily atonality.

dodecaphonism only serializes the 12 sounds of the traditional chromatic scale, while the serialization can be more sounds, hence dodecaphonism not be confused with Serialization.

Schoenberg, considers that there is no fundamental notion of dissonance, but statements more or less consistent distant. Takes the party to waive any hierarchy among the twelve notes of the chromatic scale, giving all the same dignity harmonica.

SERIES Series was not invented by Shoenberg, but by Josef Matthias Hauer . Is a sequence key of the 12 sounds, without repetition or duplication of 8 meetings, arranged in an order that will remain unchanged throughout the composition, thereby getting around the primacy of one degree over another, because everyone involved an equal number of times and in the same order.

The amount of music you can do is endless, with 12 sounds using mathematical permutations, 479,001,600 series can be different.

The series may occur in 4 ways that support the traditional style of contrapuntal variation.

• in shape.

• in a retrograde manner.

• in inverted form.

• In retrograde-inverted.

series also can be submitted starting on any level of the 12 sounds of the chromatic scale.

can be ordered at the whim of the composer, repeated several times used and do not even use more than a few.

The series can be used linearly, 2 or 3 beeps may sound to time, harmonious plan to create chords that are more or less dissonant.

sounds of the series can be used in succession (as a melody) or simultaneously (as harmony and counterpoint). You can also occur with grace notes, trills, tremolos, etc..

Schoenberg, said that excluding the use of more than one series, as each series following one or more sounds are repeated too soon and could be interpreted as a tonic.

VIENNA SCHOOL

Arnold Schoenberg, with his disciples Alban Berg and Anton Webern form "the Second Viennese School" or "School of twelve-tone technique" . ALBAN BERG

It was the favorite pupil of Schoenberg, is the most lyrical of the three, perhaps because of his friendship with Mahler, whose works, especially the 6 th and) First Symphony, a big influence on him.

Despite being strictly atonal, and in Stage 2 strict twelve-tone, no less lyrical, or order the series so they have reminiscent tone, so that the public approves it more easily than Schoenberg or Webern .

starts in his first term Post-Wganerianismo under the supervision of his teacher and is characterized by exploitation, very free, an expressive atonality.

His masterpiece is WOZZECK (which is dedicated to Mahler for the friendship.) It is an opera in which an unhappy soldier kills his unfaithful lover and commits suicide by hanging. Is the prototype of the social document presented in expressionist language.

is a work written on Post-Wagnerian chromatic and dissonant style, being the classic example of atonal chromatic style with classic forms conbined closed, (no way sonata, variations, leitmotiv, folk songs ...).

In his second season, his major works are: "La Cantata del Vino", "Concerto for Violin and Orchestra" and "Lulu."

The "Concerto for Violin and Orchestra" , subtitled "In Memory of an Angel" (daughter of 2 nd marriage to Mahler, who died at 18 years of age). Berg In this work, although the twelve-tone system is the only valid alternative to the tonal system, is not to exhaust the system logic and does not alienate his freedom of expression reminiscent striving to prevent or successive tonal dissonance.

The series is based on the open strings of the violin G minor, D major, A minor, E major and the first notes of Bach Chorale "Est ist Genug."

His work "Lulu" is expressionistic, but more abstract and complex than Wozzeck, more symbolism. His music is organized in a more strict in terms of their alignment twelve-tone, though not without some tonal implications.

is about a woman who marries a doctor and a painter who kills indirectly. Later he kills one of her former lovers, so it's going to jail. His victim's son falls for her. Geschwitz Countess, her out of the cxarcel is a lesbian and has since lived under the blackmail of it ends up as a prostitute in Lonfdres where he is murdered by Jack the Ripper.

The message of the work that comes to attractive women who only had 2 roles in life: LOVER OR PROSTITUTE .

The third act is incomplete due to the death of Berg and finished Friederick CEHR, as it provided the orchestration of Lulu-Symphonie. Anton Webern

is much more demanding in terms of form and style, and therefore more rigorous. If Berg is the romantic potential of the teachings of Schoenberg, Anton Webern is their potential classic: "free atonal romanticism . Webern is the starting point of serialism. Stage

Atonal .- All works of this period are characterized by the notes, nuances and dynamics are written and expressed with more rigor "Puntilla". Everything is very well studied, nor on any notes or missing.

characteristics of their work are:

- Abandonment of the classic form.

- Absence of symmetry, repetition and thematic development.

- Brevity and conciseness (Op. 10 No. 4, takes 20 seconds to 6 bars)

- Condensation expressive.

- The work is heard as a whole.

- The silence is part of the musical discourse. Sound and silence are equally important values.

- Dynamics is of extreme discretion, but mostly there fortes and pianos pianissimo. Stage

dodecaphonic .- In 1924, he begins a second stage of composition where a twelve-tone method of Schoenberg. Anton Webern serialism seem freed from work earlier composition system.

Initially, from 1,914 to 1,926 just wrote songs, is based on 2 items controeuropeos: The tradition of the Lied and the presence of the People.

Formation of musicologist Webern as he used to rebuild that no forms of the past, but to imagine new formal criteria.

From 1926 until his death, ignores the voice, and his works are more rigorous and perfect. Webern's works are millimeter proportions, where everything is exactly as he desired. His claims do not lend themselves to the discretion of the interpreter, are extremely accurate. He never wrote opera because it did not agree with his penchant for precise notation.

His sensibility for color and clarity of timbre often pushes him to choose unexpected instrumental combinations as with the Quartet Op 22 for violin, clarinet, tenor sax and piano. With few exceptions his works are written in the style of camera.

the historical avant

mean by avant-garde music in the twentieth century, all that music that has been detached entirely or almost entirely, of instruments and traditional forms of writing. Schoenberg or Stravinsky score and still use traditional notation as well as the instruments, which are cutting edge.

Vanguards seem to start with electronic music and random music. Integral serialism is a kind of avant-garde music with traditional elements that vanguardiza after the influence of electronic experience.

Busoni Ferruccio Busoni

, predecessor of the Future, published its proposals for a new musical aesthetic, also called Sketch of greater significance than most contemporary futurist manifesto, which says flatly freedom musical art, while already quite exhausted the possibilities of the traditional major and minor keys. Begins to appear Third Tone.

In his new aesthetic, Busoni, advocates because the music is free of programmatic interpretations and because the performers and copyists be free from superstitious respect for the notation, because the music is free of rhythmic and formal conventions; because the creators are free from the constraints of playing techniques, instruments and our system scales. Proposes the division of tones in 1 / 3 and 1 / 6 tone. FUTURISM

is the first European avant-garde movement by its ideological content and its rejection of mainstream culture. A group of young intellectuals proclaims "The Futurist Manifesto" (1910), at the Teatro Alfieri in Milan.

Speed \u200b\u200bis the magic word of the new trend. On behalf of Futurism was born as anti-classical style, which opposes the qualities of balance and order Contrast and Dissonance, as main characteristics. For the Futurists, the beauty of Speed, a racing car, a fireball on the run, is more beautiful than the Victory of Samothrace.

Characteristic of the avant-garde is that the text, the declaration principles, precedes artistic creation. So in 1911, published the manifesto of musical and futuristic playwrights.

From World War I, Futurism was in crisis, partly because of the death of one of its most important architects, and partly by the influence of fascist ideology as embodied in extolling the virtues of the Italian people. Russolo

Italian painter, composer and published the Manifesto of the Art of Noises " . This new art would have to tone and regulate all possible noise, classified by him in 6 families, which would be:

• Hum.

• Whistles.

• Whispers. Creaking

• .

• Percussion.

• cries of animals and men.

With this purpose built mechanical and electrical instruments called INTONARRUMORI special, which are instruments that try to play all sounds through vibrations caused by electric current. Were perfected by him, to be renamed, RUMORARMONIO .

In his book "The Art of Noise" , argues that music has to overcome the limited range of sounds to appropriate of the inexhaustible resources of the noise, saying that music, in its evolution towards more and more combinations dissonant sound, tends to move away from pure sound to approach the noise.

Thanks to the Italian Futurist movement, noise was incorporated in its own right making music, and the difference between noise and sound virtually disappeared. Is the precedent of concrete music.

Dadaism

Tristan Tzara, Hans Arp and Hugo Ball, Dada founded in February 1916, adopting the name at random, to open a French dictionary with a clipboard. Dada means

- Cola sacred cow in an African tribe.

- Horse, in the jargon of French children.

- Yes, yes in Romanian.

- A kind of association of ideas between the pleasure of procreation and child stroller in German.

Contrary to artistic activity, Dada does not obey any rules, and more than an aesthetic movement should be seen as deliberately ugly , responding only to subvert irrational, the purpose of shocking the bourgeois public disagreement with nihilistic. Dada

not meant anything, does not aspire to any solution, no response. Dada, was a seed, an idea, a cry of raqbia e irony in the center of a senseless war that bled Europe.

pre - experimental

CHARLES IVES

is considered the predecessor of American experimentalists. Absolutely maverick composer is totally independent of all contemporary currents. Was self-taught and was able to investigate everything he wanted, it was insurance agent.

can be considered as reasons for his avant-garde that as a child, his father, a military band, encouraged him to exercise his ear to play melodies in two different keys at the same time, to write sentences with whole-tone scales , to observe and copy the foreign effects of the bells and the echoes. Use

polyrhythms and polytonality; written for pianos tuned to 1 / 4 pitch, anticipating the open forms of random music, uses the clusters, used in many parts of the collage technique, assemblies and ideas of Pop-art; adjust the spatial arrangement of the instruments in the room, mix in some plays various orchestras located in different planes to emphasize its stereo effect.

consisted primarily for his music was performed, not to be heard by the public, is a conception of the avant-garde music. And even in the case of Ives's music must be heard, is intended for it to be active and participatory way. This partly explains the use of popular music in his works as if she expected someone in the audience jump and whistling improvise a piece of work.

COWELL Henry Cowell, the American representative was more direct in the tradition of Ives. Experimentally cultivated a Neoclassical Nationalist, preferably using the Irish Folklore.

At 15 years, gave the name of Tone-Clusters (cluster of letters) to your favorite resort to play with his fist, palm or the back of his hand several adjacent keys of the piano. Afformations never have invented this remedy, but since Bartok asked permission to use it, people remember him as "the man of the Clusters."

A Cowell, also liked to stick his hand inside the piano for the keyboard to produce unusual sounds on the strings.

made important creative and extensive research in the field of rhythm and may have been the first person who proposed the concept of rhythmic, durational relationships derived from the ratios of harmonic vibrations (2:1, 3:2 , 4:3, etc.).

VARESE

is the most important American composers of avant-garde in the early 20's. Grnades has influences of Debussy, Strauss and Stravinsky.

will see the characteristics of his style in the areas where there are repeated notes, and hints of calls and calls of birds species, in the rhythm, is instinctive, visceral, noted with great subtlety, the instrumentation is full of whispers and screaming with terrible cries, with reinforcements characteristic of certain harmonics, in the manner of Debussy, to change the timbre orchestral forms with complete freedom of form and structure, discontinuity and instrumental melody. Be spent with any possibility of thematic construction. The materials are transformed almost completely nonlinear.

On December 2, 1954, Varese is the first composer to use a tape com oinstrumento within a composition in public. The work was Deserts, his most famous work. For wind and percussion, has tape recordings of industrial noise are interpolated into the score.

Varese is the only composer who has given the músdica concrete masterpieces. His Poem E was commissioned for broadcast by over 400 speakers that sound filled with inside the Philips Pavilion at the Brussels World feriwqa 1958.

For Varese, sounds as such, were the key structural components of music, more fundamental than melody, harmony or rhythm.