Electronic by Futurism - Technological advances in the 20th century enabled composers to use electronic means of producing sound. Some composers simply incorporated electronic instruments into relatively conventional pieces. Other composers abandoned conventional instruments and used magnetic tape to create music, recording sounds and then manipulating them in some way.
The futurists believed in speed, noise, machines, pollution, and cities. They welcomed the new modern world.
Atonal by Bauhaus - Arnold Schoenberg developed the twelve - tone technique of composition, intended to be a replacement for traditional tonal pitch organization. Atonal music controlled other aspects of music such as the pitch of the notes, dynamics and methods of attack, creating completely serialized music.
The design innovations associated with Bauhaus are the simplified forms, functionality & rationality, idea that mass-production was reconcilable with the individual artistic spirit.
Experimentalism by Dada - In the early part of the 20th century modernist composers produced music that was shocking to audiences of the time for its disregard or flaunting of conventions. Henry Cowell performed his solo piano pieces by strumming or plucking the inside of the piano, knocking on the outside, or depressing tone clusters with his arms.
Dada wanted to prove that reason and logic had led people into the horrors of war, so the only way to salvation was to reject logic and accept anarchy and irrationality.
Post Modernism by Russian Constructivism - Modernism took the progressive spirit of the late 19th century, its love of rigor and technical advancement, and unhinged it from the norms and forms of the late 19th century art.
Constructivism became an early Soviet youth movement, and artistic outlook that aimed to combine the whole spiritual cognitive, and material activity of man. By declaring themselves for the revolution, Constructivists expected to be able to introduce their own programs for the future.
Minimalism by International Typographic Style - Minimalist music is a dominance of process in music, where fragments are layered on top of each other, often looped, to produce the entirety of the sonic canvas. The minimalist wave of composers wanted music to be accessible to ordinary listeners, and wanted to express concrete specific questions of dramatic and music form.
The visual characteristics of Swiss Style are asymmetric layouts, use of a grid, sans-serif typefaces such as Akzidenz Grotesk, and left justified, ragged-right text.
Impressionalism by Art Deco - Impressionalism music moves away from the traditional melodic line. This type of melody contains large intervals and very dissonant sounds. Harmony, though sometimes complex, was tonal,and traditional instrumental groupings such as the orchestra and string quartet remained the most usual.
Unlike many design movements have political or philosophical roots or intentions, Art Deco was purely decorative. It was seen as elegant, functional, and ultra modern as well.
Neoclassicism by De Stijl - Neoclassicism, in music means the movement in the 20th century to return to a revived common practice harmony, mixed with greater dissonance and rhythm, as the basic point of departure for music. Maurice Ravel, Igor Stravinsky, Paul Hindemith, Sergei Proofiev, Vangelis Papathanasiou and Bela Bartok are most important composers in this mode.
De Stijl proposed ultimate simplicity and abstraction. Reduced to the rectangle and other geometric shapes, and color to the primary colors.
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20th Cent Classical Music record covers designed in 20th Cent Graphic Design movements