...Messiaen
| A | B | A |
| exposition | development | recapitulation |
| F > C | ? | F > F |
| tonic > dominant | ? | tonic > tonic |
From the classical era approaches to form gradually developed into more romantic ones which depended often on image- or emotion-based ideas rather than those of structure, etiquette and poise. This in turn can be related to changes in the socio-economic status of music.
As the turn of the century approached, the influence of clear, unambiguous tonalities lessened and with them, so did the influence of the classical model of sonata form, even in the complex state it had survived during the romantic era. At the same time, composers were regularly writing the first movements of symphonies (still superficially in sonata form) which were as long or longer than many complete classical symphonies. A typical example of this is Gustav Mahler, (see Symphonies No 6 and 9)
Eventually, this in itself created reactions against such extremes.
This brought a freer exploration of form, connected with the rise of Nationalism, the dislocation of the world wars, the increase in world travel, technology, etc...
For example:
| Stravinsky | Rite of Spring | 1913 | ballet, nature, tableaux, not sonata form |
| Stravinsky | Symphonies of Wind Instruments | 1921 | tableaux, not sonata form, juxtaposition |
| Messiaen | Et Expecto Ressurectionem Mortuorum | 1960? | primitivism, juxtaposition of blocks |
| Messiaen | Catalogue d'Oiseaux | 1956- | nature, primitivism, juxtaposition of blocks |
| Stockhausen | Kontakte | 1958 | juxtaposition of blocks or moments |
| Stockhausen | Momente | ? | juxtaposition of blocks or moments |
There are still many examples of sonata form, symphonies, etc.
Messiaen was one of the main composers to both pick up on Stravinsky's use of blocks of material in a piece like Le Sacre du Printemps. He also developed them significantly - by the use of birdsong and other natural ideas. Look at Book 1 of Catalogue d'Oiseaux. In this piece, Messiaen doesn't just portray a particular bird, but also its environment, other birds commonly found in the same environment, the time of day it might be active, and specific environmental features such as rocks, rivers, waterfalls, etc.
This piece uses blocks of material, birdsong, plainchant and a quite deliberate archaicism. Investigate especially the fourth movement. Notice how straightforward, simple and easy to follow the form is. There are no subtleties or sophistications that you might expect to find in classical or romantic music. This is direct, brutal and visceral.
See also stained-glass windows.
Emphasising the differences between much twentieth century music and earlier stuff. Look at juxtaposition and the manipulation in space of particular, often quite simple ideas.
A good example is the third of Colin Matthews' Strugnell's Haiku (text: Wendy Cope): nice, short and humorous. Use last one (of three) as a good example of simple ideas used in rotation.