Contemporary classical music  

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-'''Contemporary classical music''' is [[classical music]] composed close to the [[present day]]. At the beginning of the 21st century, it commonly referred to the post-1945 [[Modernism (music)|modern forms]] of [[Post-tonal music theory|post-tonal]] music after the death of [[Anton Webern]], and included [[serial music]], [[electronic music]], [[experimental music]], and [[minimalist music]]. Newer forms of music include [[spectral music]], and [[post-minimalism]]. 
-== History ==+'''Post-tonal music theory''' is the set of [[music theory|theories]] put forward to describe [[music]] written outside of, or 'after', the [[tonality|tonal system]] of the [[common practice period]]. It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones. As music becomes more complex, dissonance becomes indistinguishable from consonance.
-=== Background ===+
- +
-At the beginning of the twentieth century, composers of classical music were experimenting with an increasingly [[Consonance and dissonance|dissonant]] pitch language, which sometimes yielded [[atonality|atonal]] pieces. Following World War I, as a backlash against what they saw as the increasingly exaggerated gestures and formlessness of late Romanticism, certain composers adopted a [[Neoclassicism (music)|neoclassic]] style, which sought to recapture the balanced forms and clearly perceptible thematic processes of earlier styles Technological advances led to the birth of electronic music. Experimentation with tape loops and repetitive textures contributed to the advent of [[minimalism]]. Still other composers started exploring the theatrical potential of the musical performance ([[performance art]], [[mixed media]], [[fluxus]]). New works of Contemporary classical music continue to be created. Each year, the [[Boston Conservatory at Berklee]] presents 700 performances. New works from Contemporary classical music program students comprise roughly 150 of these performances.+
-=== 1945–75 ===+
- +
-To some extent, European and the US traditions diverged after World War II. Among the most influential composers in Europe were [[Pierre Boulez]], [[Luigi Nono]], and [[Karlheinz Stockhausen]]. The first and last were both pupils of [[Olivier Messiaen]]. An important aesthetic philosophy as well as a group of compositional techniques at this time was [[serialism]] (also called "through-ordered music", "'total' music" or "total tone ordering"), which took as its starting point the compositions of [[Arnold Schoenberg]] and [[Anton Webern]] (but was opposed to traditional twelve-tone music), and was also closely related to [[Le Corbusier]]'s idea of the ''[[modulor]]''. However, some more traditionally based composers such as [[Dmitri Shostakovich]] and [[Benjamin Britten]] maintained a tonal style of composition despite the prominent serialist movement.+
- +
-In America, composers like [[Milton Babbitt]], [[John Cage]], [[Elliott Carter]], [[Henry Cowell]], [[Philip Glass]], [[Steve Reich]], [[George Rochberg]], and [[Roger Sessions]], formed their own ideas. Some of these composers (Cage, Cowell, Glass, Reich) represented a new methodology of [[experimental music]], which began to question fundamental notions of music such as [[musical notation|notation]], [[performance]], duration, and repetition, while others (Babbitt, Rochberg, Sessions) fashioned their own extensions of the twelve-tone serialism of [[Arnold Schoenberg|Schoenberg]].+
- +
-== Movements ==+
-=== Neoromanticism ===+
- +
-The vocabulary of extended tonality, which flourished in the late 19th and very early 20th centuries, continues to be used by contemporary composers. It has never been considered shocking or controversial in the larger musical world—as has been demonstrated statistically for the United States, at least, where "most composers continued working in what has remained throughout this century the mainstream of tonal-oriented composition."+
- +
-=== High modernism ===+
- +
-[[Serialism]] is one of the most important post-war movements among the high modernist schools. Serialism, more specifically named "integral" or "compound" serialism, was led by composers such as [[Pierre Boulez]], [[Bruno Maderna]], [[Luigi Nono]], and [[Karlheinz Stockhausen]] in Europe, and by [[Milton Babbitt]], [[Donald Martino]], [[Mario Davidovsky]], and [[Charles Wuorinen]] in the United States. Some of their compositions use an ordered set or several such sets, which may be the basis for the whole composition, while others use "unordered" sets. The term is also often used for [[dodecaphony]], or [[twelve-tone technique]], which is alternatively regarded as the model for integral serialism.+
- +
-Despite its decline in the last third of the 20th century, there remained at the end of the century an active core of composers who continued to advance the ideas and forms of high modernism. Those no longer living included [[Pierre Boulez]], [[Pauline Oliveros]], [[Toru Takemitsu]], [[Jacob Druckman]], [[George Perle]], [[Ralph Shapey]].{{sfn|Botstein|2001|loc=§9}} [[Franco Donatoni]], [[Jonathan Harvey (composer)|Jonathan Harvey]], [[Erkki Salmenhaara]], and [[Henrik Otto Donner]],{{sfn|Anderson|1992|loc=18}} Those still living today{{when|date=August 2020}} include [[Magnus Lindberg (Finnish composer)|Magnus Lindberg]], [[George Benjamin (composer)|George Benjamin]], [[Brian Ferneyhough]], [[Wolfgang Rihm]], [[Richard Wernick]], [[Richard Edward Wilson|Richard Wilson]],and [[James MacMillan]].+
- +
-==== Electronic music ====+
- +
-===== Computer music =====+
- +
-Between 1975 and 1990, a shift in the paradigm of [[computer]] technology had taken place, making electronic music systems affordable and widely accessible. The personal computer had become an essential component of the electronic musician’s equipment, superseding [[Analog synthesizer|analog]] [[synthesizer]]s and fulfilling the traditional functions of composition and scoring, synthesis and sound processing, sampling of audio input, and control over external equipment.+
- +
-==== Music theatre ====+
- +
-==== Spectral music ====+
- +
-==== Polystylism (eclecticism) ====+
-Some authors equate polystylism with [[eclecticism]], while others make a sharp distinction.+
- +
- +
-=== Post-modernism ===+
- +
-==== Minimalism and post-minimalism ====+
- +
-==== Historicism ====+
-[[Musical historicism]]—the use of historical materials, structures, styles, techniques, media, conceptual content, etc., whether by a single composer or those associated with a particular school, movement, or period—is evident to varying degrees in minimalism, post-minimalism, world-music, and other genres in which tonal traditions have been sustained or have undergone a significant revival in recent decades. Some post-minimalist works employ medieval and other genres associated with early music, such as the "Oi me lasso" and other [[laude]] of [[Gavin Bryars]].+
- +
-The historicist movement is closely related to the emergence of musicology and the [[early music revival]]. A number of historicist composers have been influenced by their intimate familiarity with the instrumental practices of earlier periods ([[Hendrik Bouman]], [[Grant Colburn]], [[Michael Talbot (musicologist)|Michael Talbot]], [[Paulo Galvão]], [[Roman Turovsky-Savchuk]]). The musical historicism movement has also been stimulated by the formation of such international organizations as the [[Delian Society]] and [[Vox Saeculorum]].+
- +
-==== Art rock influence ====+
-Some composers have emerged since the 1980s who are influenced by [[art rock]], for example, [[Rhys Chatham]].{{sfn|Chatham|1994}}+
- +
-==== New Simplicity ====+
- +
-==== New Complexity ====+
- +
-New Complexity is a current within today's{{when|date=August 2020}} European contemporary avant-garde music scene, named in reaction to the New Simplicity. Amongst the candidates suggested for having coined the term are the composer [[Nigel Osborne]], the Belgian musicologist [[Harry Halbreich]], and the British/Australian musicologist Richard Toop, who gave currency to the concept of a movement with his article "Four Facets of the New Complexity".+
- +
-Though often [[atonal]], highly abstract, and [[Consonance and dissonance|dissonant]] in sound, the "New Complexity" is most readily characterized by the use of techniques which require complex [[musical notation]]. This includes [[extended technique]]s, [[microtonality]], odd [[Musical tuning|tunings]], highly disjunct [[Melodic motion|melodic contour]], innovative [[timbre]]s, complex [[polyrhythms]], unconventional [[Instrumentation (music)|instrumentations]], abrupt changes in loudness and intensity, and so on.{{Citation needed|date=May 2017}} The diverse group of composers writing in this style includes [[Richard Barrett (composer)|Richard Barrett]], [[Brian Ferneyhough]], [[Claus-Steffen Mahnkopf]], [[James Dillon (composer)|James Dillon]], [[Michael Finnissy]], [[James Erber]], and [[Roger Redgate]].+
- +
-== Developments by medium ==+
- +
-=== Opera ===+
- +
-Notable composers of operas since 1975 include:+
-*[[Michel van der Aa]]+
-*[[Mark Adamo]]+
-*[[John Adams (composer)|John Adams]]+
-*[[Thomas Adès]]+
-*[[Miguel del Águila]]+
-*[[Bruce Adolphe]]+
-*[[Robert Ashley]]+
-*[[Lera Auerbach]]+
-*[[Gerald Barry (composer)|Gerald Barry]]+
-*[[George Benjamin (composer)|George Benjamin]]+
-*[[Tim Benjamin (composer)|Tim Benjamin]]+
-*[[Luciano Berio]]+
-*[[Michael Berkeley]]+
-*[[Oscar Bianchi]]+
-*[[Harrison Birtwistle]]+
-*[[Antonio Braga]]+
-*[[Rudolf Brucci]]+
-*[[John Cage]]+
-*[[Roberto Carnevale]]+
-*[[Elliott Carter]]+
-*[[Daniel Catán]]+
-*[[Tom Cipullo]]+
-*[[Azio Corghi]]+
-*[[Michael Daugherty]]+
-*[[Peter Maxwell Davies]]+
-*[[Julius Eastman]]+
-*[[John Eaton (composer)|John Eaton]]+
-*[[Oscar Edelstein]]+
-*[[Péter Eötvös]]+
-*[[Mohammed Fairouz]]+
-*[[Brian Ferneyhough]]+
-*[[Lorenzo Ferrero]]+
-*[[Juan Carlos Figueiras]]+
-*[[Luca Francesconi]]+
-*[[Philip Glass]]+
-*[[Elliot Goldenthal]]+
-*[[Ricky Ian Gordon]]+
-*[[Daron Hagen]]+
-*[[Hans Werner Henze]]+
-*[[Bern Herbolsheimer]]+
-*[[York Höller]]+
-*[[Helmut Lachenmann]]+
-*[[Lori Laitman]]+
-*[[André Laporte]]+
-*[[György Ligeti]]+
-*[[Liza Lim]]+
-*[[David T. Little]]+
-*[[Luca Lombardi (composer)|Luca Lombardi]]+
-*[[Missy Mazzoli]]+
-*[[Richard Meale]]+
-*[[Olivier Messiaen]]+
-*[[Robert Moran]]+
-*[[Nico Muhly]]+
-*[[Olga Neuwirth]]+
-*[[Luigi Nono]]+
-*[[Per Nørgård]]+
-*[[Michael Nyman]]+
-*[[Michael Obst (composer)|Michael Obst]]+
-*[[Marcus Paus]]+
-*[[Henri Pousseur]]+
-*[[Kevin Puts]]+
-*[[Einojuhani Rautavaara]]+
-*[[Kaija Saariaho]]+
-*[[Aulis Sallinen]]+
-*[[Carol Sams]]+
-*[[David Sawer]]+
-*[[Howard Shore]]+
-*[[Louis Siciliano]]+
-*[[Karlheinz Stockhausen]]+
-*[[Somtow Sucharitkul]]+
-*[[Josef Tal]]+
-*[[Stefano Vagnini]]+
-*[[Judith Weir]]+
- +
-=== Cinema and television ===+
-Notable composers of post-1945 classical film and television scores include:+
-*[[Elmer Bernstein]]+
-*[[Bruce Broughton]]+
-*[[Aaron Copland]]+
-*[[Brad Fiedel]]+
-*[[Ernest Gold (composer)|Ernest Gold]]+
-*[[Elliot Goldenthal]]+
-*[[Jerry Goldsmith]]+
-*[[Bernard Herrmann]]+
-*[[Joe Hisaishi]]+
-*[[James Horner]]+
-*[[Michael Kamen]]+
-*[[Aram Khachaturian]]+
-*[[Wojciech Kilar]]+
-*[[Ennio Morricone]]+
-*[[David Newman (composer)|David Newman]]+
-*[[Alex North]]+
-*[[Leonard Rosenman]]+
-*[[Nino Rota]]+
-*[[Miklós Rózsa]]+
-*[[Alfred Schnittke]]+
-*[[Howard Shore]]+
-*[[Dmitri Shostakovich]]+
-*[[Tōru Takemitsu]]+
-*[[Dimitri Tiomkin]]+
-*[[Ralph Vaughan Williams]]+
-*[[William Walton]]+
-*[[Franz Waxman]]+
-*[[John Williams]]+
- +
- +
-Contemporary classical music originally written for the concert hall can also be heard on the music track of some films, such as Stanley Kubrick's ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'' (1968) and ''[[Eyes Wide Shut]]'' (1999), both of which used concert music by [[György Ligeti]], and also in Kubrick's ''[[The Shining (film)|The Shining]]'' (1980) which used music by both Ligeti and [[Krzysztof Penderecki]]. [[Jean-Luc Godard]], in ''[[La Chinoise]]'' (1967), [[Nicolas Roeg]] in ''[[Walkabout (film)|Walkabout]]'' (1971), and the [[Brothers Quay]] in ''In Absentia'' (2000) used music by [[Karlheinz Stockhausen]].+
- +
-=== Chamber ===+
-Some notable works for chamber orchestra:+
-* [[Composition for Twelve Instruments]] (1948, rev. 1954) – [[Milton Babbitt]]+
-* [[Concerto for seven wind instruments, timpani, percussion, and string orchestra]] (1949) – [[Frank Martin (composer)|Frank Martin]]+
-* [[Drei Lieder (Stockhausen)|Drei Lieder]] (1950) – [[Karlheinz Stockhausen]]+
-* ''[[Nummer 2]]'' (1951) – [[Karel Goeyvaerts]]+
-* ''[[Oiseaux exotiques]]'' (1956) – [[Olivier Messiaen]]+
-* ''Requiem'' for strings (1957) – [[Toru Takemitsu|Takemitsu]]+
-* ''[[Threnody to the Victims of Hiroshima]]'' (1960) – [[Krzysztof Penderecki|Penderecki]]+
-* [[Double Concerto (Carter)|Double Concerto]] for harpsichord and piano with two chamber orchestras (1961) – [[Elliott Carter]]+
-* ''[[Stop (Stockhausen)|Stop]]'' (1965) – Karlheinz Stockhausen+
-* Fantasia for Strings (1966) – [[Hans Werner Henze]]+
-* [[Concerto (Barraqué)|Concerto]] for clarinet and vibraphone with six instrumental formations (1968) – [[Jean Barraqué]]+
-* ''[[Ramifications (Ligeti)|Ramifications]]'' (1968–69) –  [[György Ligeti|Ligeti]]+
-* ''[[Compases para preguntas ensimismadas]]'' (1970) – Hans Werner Henze+
-* ''[[Recital I (for Cathy)]]'' (1972) – [[Luciano Berio]]+
-* [[Guitar Concerto No. 2 (Hovhaness)|Guitar Concerto No. 2]] for guitar and strings (1985) – [[Alan Hovhaness]]+
-* ''[[Kol-Od]]'' (1996) – Luciano Berio+
-* ''[[Asko Concerto]]'' (2000) – Elliott Carter+
-* ''[[Dialogues (Carter)|Dialogues]]'' for piano and chamber orchestra (2003) – Elliott Carter+
-* ''[[Tierkreis (Stockhausen)|Fünf Sternzeichen]]'' (2004) – Karlheinz Stockhausen+
-* ''[[Tierkreis (Stockhausen)|Fünf weitere Sternzeichen]] (2007) – Karlheinz Stockhausen+
-* ''Diário das Narrativas Fantásticas'' (2019) – [[Caio Facó|Facó]]+
- +
- +
-=== Concert bands (wind ensembles) ===+
- +
-In recent years, many composers have composed for [[concert band]]s (also called wind ensembles). Notable composers include: +
-*[[James Barnes (composer)|James Barnes]]+
-*[[Leslie Bassett]] +
-*[[David Bedford]] +
-*[[Richard Rodney Bennett]]+
-*[[Warren Benson]]+
-*[[Steven Bryant (composer)|Steven Bryant]]+
-*[[Daniel Bukvich]]+
-*[[Mark Camphouse]]+
-*[[Michael Colgrass]]+
-*[[John Corigliano]] +
-*[[Michael Daugherty]]+
-*[[David Del Tredici]]+
-*[[Thomas C. Duffy]] +
-*[[Eric Ewazen]] +
-*[[Aldo Rafael Forte]]+
-*[[Michael Gandolfi]] +
-*[[David Gillingham]] +
-*[[Julie Giroux]]+
-*[[Peter Graham (composer)|Peter Graham]] +
-*[[Donald Grantham]] +
-*[[Edward Gregson]] +
-*[[John Harbison]] +
-*[[Samuel Hazo]] +
-*[[Kenneth Hesketh]]+
-*[[Karel Husa]] +
-*[[Yasuhide Ito]]+
-*[[Scott Lindroth]]+
-*[[Scott McAllister]] +
-*[[W. Francis McBeth]] +
-*[[James MacMillan]] +
-*[[Cindy McTee]] +
-*[[David Maslanka]]+
-*[[Nicholas Maw]]+
-*[[John Mackey (composer)|John Mackey]] +
-*[[Johan de Meij]]+
-*[[Olivier Messiaen]]+
-*[[Lior Navok]]+
-*[[Ron Nelson (composer)|Ron Nelson]]+
-*[[Carter Pann]]+
-*[[Vincent Persichetti]]+
-*[[Alfred Reed]]+
-*[[Steven Reineke]]+
-*[[Gunther Schuller]] +
-*[[Joseph Schwantner]]+
-*[[Robert W. Smith (musician)|Robert W. Smith]]+
-*[[Philip Sparke]]+
-*[[Jack Stamp]] +
-*[[Karlheinz Stockhausen]]+
-*[[Steven Stucky]]+
-*[[Frank Ticheli]]+
-*[[Michael Tippett]]+
-*[[Jan Van der Roost]]+
-*[[Dan Welcher]] +
-*[[Eric Whitacre]]+
-*[[Dana Wilson]]+
-*[[Guy Woolfenden]]+
-*[[Charles Rochester Young]]+
- +
-== Festivals ==+
-The following is an incomplete list of Contemporary-music festivals:+
-* [[Ars Musica]], Brussels, Belgium+
-* [[Bang on a Can|Bang on a Can Marathon]]+
-* [[Darmstädter Ferienkurse]]+
-* [[Donaueschingen Festival]]+
-* [[Gaudeamus Foundation]] Music Week in Amsterdam+
-* [[Huddersfield Contemporary Music Festival]]+
-* [[Lucerne Festival]] in Switzerland+
-* [[MATA Festival]] in New York+
-* [[Music Biennale Zagreb]]+
-* [[Musica (French music festival)]]+
-* [[New Music Gathering]]+
-* [[November Music]] in 's Hertogenbosch (the Netherlands) +
-* [[Other Minds (organization)|Other Minds]] in San Francisco+
-* [[Peninsula Arts Contemporary Music Festival]]+
-* [[Warsaw Autumn]] in Poland+
-* [[George Enescu Festival]] in Romania+
-* [[Cabrillo Festival of Contemporary Music]] in Santa Cruz, California+
- +
-== See also ==+
-*[[21st century music]]+
-* [[20th-century classical music]]+
-* [[21st-century classical music]]+
-*[[Avant-garde music]]+
-*[[Modernism (music)]]+
-*[[art music]]+
-*[[postmodern music]]+
-*[[Contemporary]]+
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Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period. It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones. As music becomes more complex, dissonance becomes indistinguishable from consonance.


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