Arnold Schoenberg Research Papers - Academia.edu (original) (raw)

As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living idea, which the artist imitates in a piece of music as a manifestation or development of one particular tone by means of the motive and the key. Schenker and Schoenberg further conceive of a piece as a picture of the tone and a statement about the tone. This analysis reveals that Schenker's and Schoenberg's peculiar clashes, such as in their starkly opposed attitudes toward tonality, are the result of a mere difference in emphasis—attributable to temperament—on the absoluteness of the tone as an idea of nature versus the contingency of the artist's response to the tone in the formation of music, a contradiction inherent in both of their remarkably parallel theories. This deep unity in Schenker's and Schoenberg's musical thought invites a reassessment of the opposed historical categories of tonal and post-tonal music, which have informed our perception of a fundamental conflict between their theories and limited our perception of commonality between their theories.

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- Music, Music Theory, Schenkerian Analysis, Conceptual Metaphor

An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.

- by Giacomo Fronzi
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- Music, Musical Composition, Music Theory, Musicology
- by Daniel K . S . Walden
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- Music, Musical Composition, Musicology, Technology

This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled "The Americanization of Heinrich Schenker," William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.

- by John Covach
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- Music History, Music Theory, Music analysis, Arnold Schoenberg

This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.

- by Matthew Arndt
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- Music, Music Theory, Musicology, Schenkerian Analysis
- by Peter J Tregear
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- Art, Literature, Weimar Republic, Arnold Schoenberg

The article is devoted to Karol Rathaus (1895-1954), a Polish composer of Jewish origin, whose second homeland was the United States. Like many other refugee composers, such as Arnold Schönberg, Ernst Křenek, Ernst Toch, Darius Milhaud and Paul Hindemith, he made a significant contribution as a teacher in the process of transferring European music culture to the United States. The issues sketched here involve the relationship between compositional work and the experience of its creator as an émigré.

- by Jolanta Guzy-Pasiak
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- Jewish Studies, Exile, Migration Studies, Ernst Krenek

Este texto é resultante de pesquisa de doutorado já concluída. Trata da aproximação dos conceitos de orientação do pensamento por meio da conversão, subversão e perversão apresentados por Deleuze em associação aos três principais compositores e seus métodos criativos da chamada Segunda Escola de Viena. Aqui se apresenta Schoenberg por meio da orientação da conversão, Webern pela subversão e Berg pela perversão.

- by Marco Antonio Machado
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- Gilles Deleuze, Arnold Schoenberg, Alban Berg, Perversão

A concept and implementations of an innovative HV capacitor charger system based on resonant modular converter are described. This system may function also as a DC power supply. The charger will be a part of a HV pulsed power supply in a corona discharge system for pollution control applications. The system comprises N identical modules fed in parallel and connected in series at their outputs. They are clocked by a generator of shifted pulses (for operation in a multi-phase mode), and thus the ripple both at the input and the output is decreased dramatically. The switching frequency is continuously adjusted to minimize switching losses by ensuring virtually zero-current commutation. The inverters are based on a series-resonance topology in a half-bridge inverter with energy dosage characteristic. All modules have essentially the same resonant frequency, since the resonance is formed by the leakage inductance of the HV transformer and stable film capacitors. There are two means to regulate the output voltage. Wide-range regulation is provided by modules' commutation on/off, while fine-tuning is done by the frequency regulation. Special attention was paid in designing the system to be capable of dealing with high EMI, an outcome of the electrical pulsed discharge.

- by Wolf Charger
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- Arnold Schoenberg
- by Franco Ballardini
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- Music History, Romanticism, Music Aesthetics, Hanslick
- by Judith Ryan
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- Modernism, Arnold Schoenberg, Poetry and Music, Stefan George
- by John Bimbiras
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- Chamber Music, Second Viennese School, Arnold Schoenberg
- by C.M. Griffiths
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- German Expressionism, Commedia dell'arte, Arnold Schoenberg, Pierrot Lunaire

В данное издание вошли избранные статьи из I (и пока
единственного) тома книги Пьера Булеза «Ориентиры. Воображать». Выбор статей ориентирован на представление связи
между композиторскими техниками XX века, критикой нововенской школы (додекафонии) и поэтикой сериализма. Переведенные работы
демонстрируют приоритеты Булеза по отношению к музыке и
искусству в целом. Книга рассчитана на широкий круг читателей,
интересующихся проблемами современной музыки и предварена предисловием составителя К. Чухров "От серии к расширяющейся вселенной".

- by Keti Chukhrov
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- Musical Composition, Music Theory, Musicology, Gilles Deleuze
- by Steven D Mathews
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- Music Theory, Theodor Adorno, Brahms, Mozart

Consideraciones estilísticas acerca de una de las primeras aproximaciones al serialismo de Arnold Schoenberg: la Serenata, Op. 24. Realizadas en base al análisis de estilo propuesto por el musciólogo Jan LaRue, basado en Sonido, Armonía,... more

- by Juan Linares
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- Twentieth-century Music, Arnold Schoenberg, Serialismo, Atonality

The commedia dell’arte, an improvisatory theatrical genre with an enduring influence, hails from 16th-century Italy and has infiltrated almost every art form in varied manifestations. Stockhausen’s Der Kleine Harlekin and Schoenberg’s Pierrot Lunaire borrow extensively from the commedia dell’arte tradition, its wealth of performance practices, and evolving historical context. Each composition engages directly with this material in utilizing commedia dell’arte characters, Arlecchino and Pierrot (Pedrolino)—figures that are steeped in cultural implications and are dissociable from their theatrical conception. However, the similarities extend beyond the physicality of Stockhausen’s farcical take on commedia dell’arte in his writing for solo dancing clarinet and the dramatic subject matter of Schoenberg’s Pierrot Lunaire. Both composers weave commedia dell’arte references into the composition on a structural level and benefit from a catalogue of scripted gestures or reactions inspired by the use of lazzi, recurring physical gags, in the commedia dell’arte tradition to create characterizations in physical and musical contexts. I will analyze these similarities and present an interpretation based on research in my theatrical performance of Der Kleine Harlekin and excerpts from Pierrot Lunaire enhanced by collaboration with CCM costume designer Jillian Coratti. Specific performance elements will be analyzed referencing the use of traditional and musically transposed lazzi, the importance of the spiral as a compositional building block in Stockhausen’s oeuvre and its role in Der Kleine Harlekin, and how the overlapping concepts of progressive reality, grundgestalt, and developing variation find parallels in the stochastic composition and improvisation so necessary to the commedia dell’arte and its living tradition.

- by Andrea Vos-Rochefort
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- Commedia dell'arte, Schoenberg, Arnold Schoenberg, Karlheinz Stockhausen
- by C.M. Griffiths
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- Music, Music and Language, Poetry, Modernist Literature (Literary Modernism)
- by John Covach
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- Music History, Music Theory, Musicology, History of Music Theory
- by ana maria ramirez
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- Arnold Schoenberg

A multifacetada carreira de Wassily Kandinsky (1866-1944) projeta desafios e provocações para o diálogo entre artes e saberes. Entre ensaio, literatura, etnografia, pintura, música e teatro, Kandinsky se move em meio a realizações estéticas e reflexões conceptuais.
Neste livro, tais aspectos multissensoriais de Kandinsky são examinados a partir de estudos preparatórios e documentação de processo criativo para um projeto interartístico específico: orquestrações para o ciclo de pinturas denominado Composições, do pintor russo.
Ao fim, o que se vislumbra é um amplo campo de experimentações que se articula a partir de diversos espaços-tempo de escrita: os traços na tela, as notas na pauta e as palavras na página.

A proposta dessa pesquisa está assentada sobre a idéia de que a atual pluralidade de linguagens artísticas pode ter sido originada na passagem do século XIX para o século XX com a necessidade de uma mudança de rumo no conteúdo do discurso artístico. Nesses termos, a aproximação proporcionada pelo ideal de síntese das artes vislumbrado por Arnold Schoenberg e Wassily Kandinsky é sem dúvida dotada de valor estético e histórico, e por isso capaz de agregar conhecimento.

- by David Cunningham
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- Theodor Adorno, Noise And Music, Modernism, Experimental Music

This essay presents evidence that James Joyce was knowledgeable about — and appreciated — modernist classical music. It provides an exposition of his musical life in Zurich and Paris, from 1915 onwards, with connection to his acquaintances with the composers Phillipe Jarnach, Otto Luening, and Georges Antheil; the modern musicological theory he learned in both cities; the concerts he attended; and how this lengthy collective experience realized itself artistically during the writing of episode 11 of Ulysses (titled “Sirens”) and throughout Finnegans Wake. This research into 20th century classical music in the works of Joyce stems largely from my dissatisfaction with contemporary critical summaries of his personal taste in music. I have concerns in regard to the general critical consensus that Joyce was traditional, non-eclectic and disliked the contemporary musical avant-garde despite being an experimental modernist himself. I feel that the current evidence supporting his apparent aversion to modernist classical music is inconclusive. The writing of this essay was also instigated by the considerable shortage of biographical and critical information available on the subject. ISBN 978-608-234-073-9

- by Jonathan McCreedy
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- Musicology, James Joyce, Genetic Criticism (Genetic Criticism), George Antheil

Bu çalışmada 20. Yüzyıl Klasik Batı Müziğinin önemli bestecilerinden Arnold Schönberg’in Op. 17 Erwartung Operası ele alındı. Çalışma tarihsel açıdan 20. Yüzyıl başı Modernizmi ile sınırlandırıldı. Bu sayede 20. Yüzyıl içinde oldukça farklılık ve çeşitlilik göstererek evrimleşen Modernizmin tüm özellikleri göz önünde bulundurularak Arnold Schönberg’in bu akım içindeki yeri ve önemi en kapsamlı haliyle gösterilmeye çalışıldı. Erwartung Operası müzikal ve dramatik yapıları bakımından incelenirken, Modernizmin 20. Yüzyıl başındaki durumu, özellikleri ve bu özelliklerin eser üzerindeki etkileri en ayrıntılı biçimiyle irdelendi. Bu kapsamda dönemin siyasi, ekonomik ve kültürel yapısı ve etkileşimlerine özel olarak değinildi. Çalışmada, nitel araştırma yöntemi kullanıldı. Bu sayede eserin sosyolojik bir bütünlük içinde incelenmesi sağlandı. Oldukça geniş ve kapsamlı bir kaynak taraması ve incelenmesi sonrası hazırlanan çalışma konu üzerine Türkiye’deki en zengin literatür taramasına sahip araştırmalardan biri olma özelliğindedir. Arnold Schönberg’in sanatını, yaşadığı dönem ve yer üzerinden değerlendiren bu çalışma, Erwartung Operası ile bestecinin ortaya koymayı amaçladığı müzik dilini ve bu yeni müzik dilinin beslendiği düşünce ve yaslandığı felsefe dolayısıyla ortaya çıkan sanat stilini en somut ve bütünlüklü haliyle anlatmayı hedeflemiştir. Çalışma sonunda klasik opera geleneği üzerine çeşitli araştırmalar olmasına karşın modern opera geleneği üzerine yeterince araştırma yapılmadığı, özellikle Türkiye’de hak ettiği ilgiyi görmediği ortaya çıkmıştır. Türkiye’deki opera sanatı ve opera eğitimi için önemli bir başvuru kaynağı olması amaçlan bu çalışma, aynı zamanda Türkçe literatürde modern opera sanatıyla ilgili ihtiyaç duyulan eksikliği biraz olsun gidermesi umuduyla tamamlanmıştır.
Anahtar Kelimeler: Arnold Schönberg, Op. 17 Erwartung, Opera, 20. Yüzyıl, Modernizm

- by Duygu Küçük Özbek
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- Arnold Schoenberg, Modernizm, Modern Opera, Erwartung

The paper tracks the origins of horizontal and vertical synthesis in early Schoenberg. Influenced by Wagner and Brahms, this synthesis was evidently first used in Schoenberg's Op. 7 String Quartet. This paper presents evidence that, in Op. 7, Schoenberg referenced Wagner's Prelude to Tristan und Isolde (and the Tristan chord itself), cementing its place as Schoenberg's prototypical vagrant chord that would lead to his early atonal techniques.

- by Michael J J Ducharme
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- Music History, Music Theory, Atonal Music, Richard Wagner

The following article is an adapted excerpt from a larger work about the influence of Arnold Schoenberg and The Second Viennese School on the 1960s avant-garde Jazz Multi-instrumentalist Eric Dolphy. Transcriptions of Dolphy's solos were made from his seminal 'Out to Lunch' album and copies of Dolphy's personal manuscript books were obtained from the Library of Congress in Washington, DC; these materials were studied and compared with the works and teachings of Arnold Schoenberg, Anton Webern and Alban Berg. This excerpt discusses Dolphy's use of the diminished (octatonic) scale and other eight note structures. Pitch class sets have been used to analyse the harmonic material alongside language more typically used in the analysis of Jazz and other tonal music.

- by adam stokes
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- Jazz Improvisation, Jazz Theory, 20th century Avant-Garde, Jazz
- by Susanna Pasticci
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- Music History, Spirituality, Metaphysics of Time, Music And Religion

Dans les "Fonctions structurelles de l'harmonie" Schoenberg mentionne régulièrement ses autres traités, par contre, il ne fait référence que très rarement à d'autres auteurs. Il est donc intéressant de les nommer ici. C'est dans le chapitre VI qu'il cite le petit ouvrage de Max Reger : "La musicologie est ici ce qu’elle devrait être : la recherche dans les profondeurs du langage musical" (p. 167-fr). L'ouvrage est téléchargeable ici en allemand, en français, en anglais et en version manuscrite.

- by Bernard FLOIRAT
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- Music Theory, Arnold Schoenberg, Max Reger

Este trabalho demonstra uma singular representação do antagonismo entre o novo e o tradicional no começo do século XX. Será feita uma pequena contextualização do opus 11 de Arnold Schoenberg, através de criticas da época, de fatos e outras associações. Realizar-se-á uma análise da segunda peça do opus 11 de Schoenberg retratando esse antagonismo. Para enriquecer essa representação, a transcrição concertante de Busoni nos fornece elementos tradicionais que serão discutidos. Pois, os compositores teriam trocado diversas cartas comentando suas posições estéticas. Elementos como tonal e atonal, romantismo e expressionismo, inconsciente e consciente são exemplos dessas antinomias.

- by Willian Fernandes de Souza
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- Arnold Schoenberg, Ferruccio Busoni, Musical Analysis, Musical Styles

I. Contexto histórico Um livro como o Harmonielehre de Arnold Schoenberg tornou-se um dos clássicos, já faz décadas, sobre harmonia tonal e em especial sobre o pensamento deste grande compositor. Existem inúmeras traduções para outras línguas, o que só reforça a sua importância. De todas essas traduções, provavelmente a primeira a ter sido tentada foi a do compositor brasileiro Alberto Nepomuceno, quem em 1916, apenas cinco anos após a primeira edição do Harmonielehre, iniciou um trabalho de tradução deste livro. Infelizmente, a tradução de Nepomuceno ficou inacabada. 1 Após décadas de espera chega-nos a tradução do Harmonielehre, realizada por Marden Maluf. A tradução do Harmonielehre de Arnold Schoenberg é apresentada em um volume, muito bem produzido. Tanto o tradutor quanto a editora estão de parabéns pelo excelente trabalho realizado. Além do texto de Schoenberg, encontramos uma apresentação assinada por Flo Menezes, e um prefácio assinado pelo tradutor. Neste prefácio, o Sr. Maluf argumenta sobre o porque da tradução de Harmonielehre como Harmonia. As razões parecem ser mais práticas do que filológicas. O título do livro, Harmonie + Lehre, se refere ao uso comum, e que demonstra uma tradição, na Alemanha e na Áustria, para obras que tratam de disciplinas pertencentes à teoria musical. Esta tradição, que remonta ao final século XIX e início do XX, refere-se aos manuais práticos de música. 2 Porém, como o tradutor RESENHAS 1 Vide mais detalhes no item IV adiante, sobre a tradução de Nepomuceno. 2 Devemos lembrar que muitos destes manuais não eram somente pequenos livros cheios de regras, mas muitos eram grandes tratados sobre o pensamento de importantes musicólogos, teóricos e compositores.

- by Norton Dudeque
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- Arnold Schoenberg

Articolo sulla "Entartete Musik", la "musica degenerata": questa l'etichetta con cui fu bollata dal regime Nazista la musica non corrispondente ai canoni imposti dal Reich o composta da autori di stirpe non ariana.

- by Luca Fialdini
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- History, Music, Degenerate Art, History of music

This chapter aims to elucidate the relationships between design and music, appealing to the conceptual metaphor debate. It considers the epistemological importance of George Lakoff's invariance hypothesis on conventional metaphors to criticize the labor of historians of culture who focus on design, visual arts, and music connections. Given that many relevant cultural historians interpret entire historical intervals as epochal units by crossing through heterogeneous practices and assuming their discursive identity, this chapter intends to point out how methodologically conduct the historian across the study of trans-disciplinary connections. As an example, this chapter examines the String Quartet op. 7 composition process by Arnold Schoenberg. Schoenberg's musical compositions were constituted by a music theory and also by epistemic virtues based, in turn, on a metaphysical conception of art whose mayor principle is reducible into the following primary metaphor: an artwork is an organism. That metaphysical metaphor was precisely the link among different heterogeneous practices as design and music. The famous rejection of "decoration" by rejecting ornaments was founded in Schoenberg's Vienna in that particular metaphor.

- by Washington Morales Maciel
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- Music, Music Theory, Aesthetics, Design
- by Jack Boss
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- Atonal Music, Arnold Schoenberg
- by David Álvarez Muñoz
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- Musicology, Modern Art, Music Aesthetics, Atonal Music
- by Lukas Haselböck
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- Instrumentation, Arnold Schoenberg, Timbre
- by Joshua B Mailman
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- Music, Film Music And Sound, Synaesthesia, Multimedia