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20th century music
Explore " 20th century music" with insightful episodes like "A Pretty Noise Teaser", "Millie Jackson", "Musical traditions & the American Avant-Garde", "Dolci Show #17: In the Garden" and "George Butterworth's The Banks of Green Willow - La Jolla Symphony and Chorus" from podcasts like ""A Pretty Noise", "Rock in Retrospect", "VOICES FROM THE VERNACULAR MUSIC CENTER", "The Dolci Show" and "Teacher's PET (Video)"" and more!
Episodes (11)
Millie Jackson
Let’s get caught up in all things Millie Jackson on this special debut episode of Rock in Retrospect. Nick and guest Mary Layton (Hall Watchers) discuss Jackson's life, career and impact on the music industry. Often hailed as the mother of rap, Jackson’s raspy spoken-word vocals and sexually charged lyrics made her one of R&B’s most consistently popular stars. She may not be a household name, but Jackson is an undeniably talented and supremely influential legend who deserves more of our attention. To quote Mary, let’s hope there is a “Millie Revolution” on the horizon.
Musical traditions & the American Avant-Garde
Intro - 0:00
Part I, Works and Philosophies of Harry Partch - 01:10
- Delusion of the Fury: Exordium: The Beginning of a Web - 03:13
- Harry Partch - Music Studio - Part 1 of 2 - 05:04
- Harry Partch - The World of Harry Partch (1969) - 28:10
- Harry Partch - Chorus of Shadows - 32:12
Part II, Works and Philosophies of Henry Cowell - 32:33
- Henry Cowell - Anger Dance (Schleiermacher) (1914) - 37:12
- Henry Cowell - “The Banshee” for piano strings - 38:43
- Henry Cowell: Hymn and Fuguing Tune No. 1 - 53:09
Outro - 53:35
Dolci Show #17: In the Garden
Green Grass Snake (from Serpent Music, 1977) Michael Kibbe (1945- )
“A sunlit emerald shimmering to tease the eye; a parting of the grass—this ribbon passes by.” Kibbe wrote this music for a performance piece. “It was premiered in Los Angeles with the composer playing the oboe. A group of interpretive dances writhed, snakelike, across the floor around the two instrumentalists.”
The Grasshopper (from Two Insect Pieces,1934) Benjamin Britten (1913-1976)
At the age of 21, Benjamin Britten wrote Two Insect Pieces for his friend, the oboist Sylvia Spencer, and played it with her privately. Its first public performance was after both their deaths, in a memorial service for Spencer.
That Mockingbird (from On Holt Avenue, 2006) Jenni Brandon (1977- )
“Written for the oboist Jennifer Mitchell, this piece portrays life ‘On Holt Avenue’ in Los Angeles, California as told by the composer.” Mockingbirds are garrulous, accurate mimics of other birds. They fool nobody, however, because they are way too loud and have no editor. Their nonstop recitals are strings of unrelated sound bites, like an iPod running amok.
Gardens (1975) Peter Schickele (1935- )
1. Morning
2. Noon
3. Night
Peter Schickele is a prolific composer, musician, author and satirist. He writes musical parodies in the persona of P.D.Q. Bach. For other compositions he uses his own name. In this piece he shows his reflective side and his skill as a musical colorist.
All quotes are from the composers. Internet links to their biographies are:
https://www.michaelkibbe.com
https://www.britannica.com/biography/Benjamin-Britten
https://jennibrandon.com
https://www.schickele.com/psbio.htm
George Butterworth's The Banks of Green Willow - La Jolla Symphony and Chorus
A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]
Samuel Barber's Adagio for Strings - La Jolla Symphony and Chorus
Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning
music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be
used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]
George Butterworth's The Banks of Green Willow - La Jolla Symphony and Chorus
A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]
Samuel Barber's Adagio for Strings - La Jolla Symphony and Chorus
Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning
music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be
used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]
Maurice Ravel's La Valse - La Jolla Symphony and Chorus
Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]
Maurice Ravel's La Valse - La Jolla Symphony and Chorus
Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]
Richard Toop Talks Music And Its Relationship To Architecture
