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Showing 1 to 20 of 55 for “"Schoenberg"”.
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"Schoenberg, Dualism, And ""moses Und Aron"""
Schoenberg's work has been extensively analyzed from the standpoint of dodecaphonic structure. The present study attempts to elaborate an understanding of Schoenberg's work by examining primary influential social and historical factors in their relation to his musical thought. Establishing a …
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Twelve-Tone Identity: Adorno Reading Schoenberg through Kant
Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno …
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A study in clarity : Josef Suk's Asrael re-envisioned via Schoenberg
During the second season of the Society for Private Musical Performances (1918-1922), known in Austria as the ‘Verein für musikalische Privataufführungen’, the members began to transcribe orchestral music for their chamber ensemble (Meibach, 1984). Previously, the Society had programmed, although …
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Musical semiotics and color : contextual roles of color in Scriabin and Schoenberg.
… as well as an in-depth overview of Arnold Schoenberg's synesthetic music drama Die glückliche Hand (1913). With both of these case studies color takes on a unique semiotic role, applying its metaphysical potential to engender a transcendent reality. These pieces not only show potential uses …
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Musical Aesthetics and Creative Identification in Two Harmonielehren by John Adams and Arnold Schoenberg
… composition after a treatise written by Arnold Schoenberg, a figure whose break from the musical past inspired many of the complex and experimental musical models that arose between the publication of his own <em>Harmonielehre</em> (1911, rev. 1922) and that of Adams. But to conclude that Adams' …
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When theories of psychology and composition intersect : a case study of Schoenberg, Dutilleux, and Lansky
… Six Little Piano Pieces, Op. 19 (1911) of Arnold Schoenberg (1874-1951), Metaboles (1964) by Henri Dutilleux (1916-2013), and the chatter series (1985-1988) of Paul Lansky (born 1944). These compositions serve as successive representations of psychological influence, in which it becomes apparent …
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The Role of the Trichord as the Basic Structural Unit of the String Trio by Arnold Schoenberg
The major finding of this study was that it is the trichord along with trichordal partitioning rather than the hexachord that forms the basis for the piece. The paper contains a detailed analysis of the work which demonstrates the dominance of the trichord and shows the instability of the hexachord …
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Arnold Schoenberg's "Pierrot lunaire": A study of Sprechstimme and vocal performance practice through sound recording
Arnold Schoenberg's Pierrot lunaire has inspired discussion and debate among scholars and performers alike for over ninety years. In particular, his use of Sprechstimme, a unique combination of speaking and singing, has been examined from a variety of perspectives and continues to be a …
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Aspects of Pitch Emphasis in Some Twelve-Tone Works of Arnold Schoenberg.(with Original Composition) 'Divisions for Small Orchestra'
Made available in DSpace on 2014-12-09T19:39:37Z (GMT). No. of bitstreams: 1 6406149.pdf: 7534979 bytes, checksum: eb8a958a3b38e3f4fe85cfcae3ee793a (MD5) Previous issue date: 1963
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La creación musical de Roberto Gerhard durante el magisterio de Arnold Schoenberg: neoclasicismo, octatonismo y organización proto-serial (1923-1928)
… el intenso contacto del compositor con Arnold Schoenberg durante los años veinte. En la primera parte examino la relación de Gerhard con los principios compositivos y pedagógicos de Schoenberg, en particular durante su periodo de estudio en Viena y Berlín (1923 – 28). El magisterio de …
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1. Variation as formal design and twelve-tone procedure in the 'Third String Quartet' by Arnold Schoenberg. 2. Fantasy Variations (original composition)
Made available in DSpace on 2014-12-09T19:40:01Z (GMT). No. of bitstreams: 1 6808088.pdf: 12524467 bytes, checksum: 750597c6ff5ba5b2d9e2f84e03627441 (MD5) Previous issue date: 1967
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Schoenberg's <i>"Phantasy"</i> Form
<p>Scholars have long debated the form of Schoenberg’s <em>Phantasy for Violin and Piano accompaniment</em>, Op. 47, his last instrumental work. The numerous accounts (by Rufer, Lewin, Lester, Hasty, Hyde, and others) have variously proposed a pseudo-sonata, a three-part, and a four-part form. This …
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Functional Harmony and its Relationship to Schoenberg's Early Post-Tonal Music
… function did not disappear entirely the day that Schoenberg ‘freed music from the shackles of tonality.’ It is rather easy to assume that harmonic function cannot exist without tonality. However, within this thesis I aim to demonstrate a system of functional harmony that can operate independently …
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Op. 34: Evidence of Arnold Schoenberg's Musikalische Gedanke
Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples …
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An analytical study of selected chamber works
This study examines Schoenberg's compositional procedures in selected chamber works written between 1906, when Schoenberg started to move away from tonality, until 1936, when his twelve-tone technique had been firmly established.
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A composium in four quarters
… Ludwig van Beethoven, Richard Wagner, and Arnold Schoenberg.
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An Analysis of Arnold Schoenberg's Orchestral Transcription of Johannes Brahms's Piano Quartet NO.1, OPUS 25
<p>Arnold Schoenberg wrote an orchestral transcription of Johannes Brahms's Piano Quartet No. 1 in G minor, opus 25. This dissertation determines discrepancies between Schoenberg's orchestral transcription and Brahms's original piano quartet. For study and comparison purposes, musical excerpts of …
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Kandinsky’s Dissonance and a Schoenbergian View of <em>Composition VI</em>
… encounters with the music and theory of Arnold Schoenberg. Prior studies have concentrated on the similarities in their theories, but I examine Kandinsky [sic] idiosyncratic understanding of Schoenbergian concepts and the evolution of his engagement with music theory over the period of 1909 to …
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