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Found 5 results

  1. This is my entry for the 2017 Summer Competition, scored for solo piano, based on dadaist and surrealist art works of the 20th century. I hope you all enjoy.
  2. First one in a year, probably much more human than the first toccata I did. Kind of testing the range of a piano... (dont know how to make melody lines stand out without using accents, sorry about that if you find it a bit noisy and clumsy from bar 33-48 and the triplets)
  3. So does anyone know of any composers from the 20th century that used the traditional system of tonality as opposed to atonality? Even better if there are composers that emulated the style of the older eras (baroque, romantic and classical specifically)
  4. Hi guys! I'm interested in studying Theme and Variation pieces from the past 100 years or so. I'm not sure where to start, so could you suggest some for me? Thanks!
  5. Recently on YC I have been turning out to be a bit of a grumpy old man with my negative posts on Yanni etc. (I read a review on one of Yanni's CDs, the reviewer said it sounded like it would 'ooze out of the walls of the elevators descending into hell'), so I decided to be a bit more positive from now on starting with this post. It is the first thread in this series about our favourite music of the twentieth and twenty-first century. The reason why I chose this era in music is because of the huge amount of diversity when it comes to musical styles. There are so many different types of music now that I'm sure we will discover new compositions and composers that we haven't previously heard of. Anyway this decade (1900-1909) produced some revolutionary ideas by composers looking for new ways of writing music. One of the most famous (and one of my favourite) events was when Schönberg premiered his second string quartet (composed around 1908 I think). The quartet was the first time anyone had bent the rules of dissonance until they actually snapped. The last movement, in addition to being atonal (or pan-tonal, as Schönberg preferred to describe it, saying that it was 'The synthesis of all tonalities'), it was the first to include voices in a form previously meant to be a purely instrumental work with strict instrumentation of two violins, a viola and a cello. An article about the premiere of Schönberg's revolutionary masterpiece appeared in the crime section of the newspaper.
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