Phillip Magnuson
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NEO-CLASSICISM: an appeal to the past
| Rousseau places clearly recognizable images, with virtually no distortion, into contexts which surprise us.
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Henri Rousseau:
The Dream | (1910)
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Background
Neo-classicism was a prominent part of Western music between the two world wars, a time when stability and tradition were generally more valued than experimentation and avant-garde views. It grows from Primitivism, and is a reaction to the newness of Impressionism and Expressionism and the excesses of late Romanticism, which was still active. It tends to be absolute music, consciously based upon traditions of the Common Practice Period, particularly the Baroque and Classical eras.
Characteristic features include balance, objectivity, economy, and clarity. In spite of its obvious intent of classical parody, with frequent musical quotation, Neo-classic music still sounds fresh and new, never relying on exact mimicry of older styles. Neo-classicism was once considered the pre-eminent 20th century style (prior to 1950), and there were many composers who wrote music under its influence. A related style, Neo-romanticism, likewise follows this model of "re-visiting" older musical styles.
Read more about Neo-classicism on the web:
Composers associated with Neo-classicism
Musical elements
A. Tonality
(In the Common Practice Period: The essential organization is around a single pitch, the tonic, which provides a home base to the ear. All other pitches work to establish the pre-eminence of tonic. Furthermore, an organization of phrases (generally made up of 4, 8, or 16 measures) expand the establishment of tonic; all phrases end with a cadence which confirms this sense of tonic.)
- Neo-classicism, like Primitivism, is tonal, and can be achieved through traditional techniques from the Common Practice Period or through assertion.
- Phrases and forms tend to be based on stylistic (especially Baroque and Classical) models, either by quoting specific pieces or by paraphrasing pre-existing structures such as the concerto or symphony.
B. Vocabulary
(In the Common Practice Period: The essential vocabulary is a diatonic pattern of seven stepwise pitches called major and minor scales. Chromatic pitches, the remaining five, can be used, but only to enhance the diatonic ones.)
- Melodic sources are similar to Primitivistic models, exploring a range of scales and modes.
- Melodies tend to follow diatonic lines rather than chromatic.
C. Texture
(In the Common Practice Period: The essential texture is created with counterpoint, which is two or more simultaneous individual and independent lines, each of which confirms the pre-eminence of tonic and utilize the vocabulary of a major or minor scale.)
- Counterpoint is similar to Primitivistic models.
- The counterpoint is generally clear, transparent, and describes relatively sparse textures (especially in contrast to late 19th century music).
D. Sonority
(In the Common Practice Period: The essential sonority (chord) is consonant and is a group of three notes (a triad) arranged in thirds (tertian). Dissonance is used, which could be a group of four notes arranged in thirds (a tertian tetrad) or non-chordal embellishments (passing and neighboring tones, suspensions, and pedals, among others) All dissonances are required to resolve.)
- Harmony is similar to Primitivistic models.
- The harmony often demonstrates sudden tonal shifts.
E. Time Organization
(In the Common Practice Period: The essential time organization is based on simple or compound meters, with 2, 3, or 4 consistent beats per measure. The first beat is always the strongest, and the others take on various degrees of strength.)
- Rhythmic use is similar to Primitivistic models.
- Metric stress is often shifted to unexpected places.
Analysis projects
- Bela Bartok: Mikrokosmos: #79 "Hommage a J.S.B."
- Sergei Prokofiev: Classical Symphony op 25: III [MA #463]
Suggested listening
- Igor Stravinsky: Les Noces (1917)
- Igor Stravinsky: Pulchinella (1920)
- Igor Stravinsky: Concerto for Piano and Winds (1924) [ATM #10]
- Darius Milhaud: Le boeuf sur le toit (1919)
- Bela Bartok: String Quartet IV(1928)
- Bela Bartok: Music for Strings, Percussion and Celeste(1936)
- Bela Bartok: Concerto for Orchestra(1943)
- Paul Hindemith: Ludus Tonalis (1942) [ATM #16]
- Aaron Copland: Rodeo (1942) [ATM #19]
Composition project
Write a Neo-classic piece for piano, one page or less, which is a complete musical thought. Include the following:
- Base the project on a theme by Mozart, Haydn, or Beethoven (include copy of original)
- Use bi-tonality and bi-modality
- Alter the rhythmic structure to off-set metric stresses
- Tempo-mood-dynamics-articulations
Click here to view a sample Neo-classicism project
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This page was last modified Friday, 30-May-2008 11:25:37 EDT.
