4.5 The twentieth century and early twenty-first century  (Page 6/3)

The twentieth century

The divergent musical styles of the twentieth century and the early twenty-first century include impressionism, neo-classicism, post-romanticism, pan-diatonicism, twelve-tone, electronic, and aleatory (indeterminacy). Composers at the end of the nineteenth century realized that Romanticism had reached its peak and that new directions were necessary if music was to continue to grow. The reader is referred to discussions of these various styles in several books listed at the end of this chapter. This discussion is directed toward the general performance considerations of twentieth-century and contemporary music.

Characteristics of twentieth-century music include:

1. Numerous meter changes

2. Exploration beyond limits of tonality

3. Pointillism

4. Nonsinging vocal sounds

5. Acceptance of any sound source as valid

6. Composers renew interest in small ensembles

7. Complex scores

8. A new music notation

9. Aleatoric composition (performance is dependent on chance)

10. Increasing demands on the vocalist

11. Increased dissonance (the term dissonance becomes obsolete in the discussion of new music after the middle of the century)

12. Growing number of choral works demanding limited staging andlighting or similar effects

Rhythm and tempo

Use of rhythm in twentieth-century music is varied. Composers strive to achieve a variety of rhythmic accents and groupings. Intricate rhythm patterns are usual. Twentieth-century composers use rhythm as a means of achieving tension. Many composers utilize changing meters to achieve rhythmic variety and excitement. Choral composers often use this technique in an attempt to create a musical inflection of the text. Constant meter changes are not unusual. Each use must be examined individually; no one solution can be applied to all occurrences. The conductor must determine the simplest and most direct method of realizing the intention of the composer.

Tempo is related to the musical style and mood of the text. Extremes in tempo are frequently found. Tempo changes are often abrupt and require skillful handling by the conductor. Composers mark their scores carefully and use metronome markings to indicate the tempo they prefer. A conductor should respect these markings and consider them as guidelines to their performance tempos. Of course, he must also consider the performance hall acoustics, ensemble size, and performers.

Texture

Many and varied textures are demanded in twentieth-century choral music. There has been an interest in chamber choirs by composers. This is both a reaction against the gigantic forces used by the later nineteenth-century composers, and a practical consideration utilizing smaller groups to perform complex scores. Each score must be examined carefully regarding texture. Impressionistic and post-romantic music usually involve a vertical structure whose harmonic movement is fluid, with an emphasis on harmony and beauty of tone. Twelve-tone scores are more horizontal and less emphasis is placed on individual chords. Its dissonance demands a tone quality with a minimal vibrato. Additionally, the singers must be thoroughly skilled in the singing of intervals to learn and perform this repertoire.