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Showing 1 to 7 of 7 for “"Second Viennese School"”.
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Beyond Boundaries: The Aesthetics of the Scream in the Music of the Second Viennese School
… its affective realisation in the music of the Second Viennese School. As well as the more explicit or literal manifestations of the scream found, for example in Schoenberg’s Erwartung (1909) and Berg’s Lulu (1934), works that are generally categorised as part of a broader movement of …
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A performer’s guide to selected solo vocal works of the Second Viennese School with a complete catalog
… Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information …
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Claude Debussy: Harmonic Innovations in Historical and Musical Context
… work will discuss these developments while the second part will analyze the structure and form of the Premiere Rhapsodie for clarinet and piano to illustrate the culmination of this trajectory.</p> <p>Late Romanticism pushed tonality to its breaking point. Composers were forced to either extend …
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Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World
… critic and supporter of the new music of the Second Viennese School. The transition for Vogel from a large-scale orchestral “classical” style, influenced by his study with Ferruccio Busoni in Berlin in the early 1920s, to a new technique involving dodecaphony is apparent in his instrumental …
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“Hallo, Hallo! Achtung! Achtung!...” : a performer's guide to the Theresienstadt compositions of Viktor Ullmann for the mezzo-soprano
… Theresienstadt. A student of Arnold Schoenberg’s Second Viennese School and Alois Hába at the Prague Conservatory, Ullmann developed his own compositional style that featured a prolific use of motivic material, a balance of tonality and atonality, the importance of the natural-harmonic-series, …
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Performance Approach in the Recorded History of Alban Berg's Piano Sonata, Op. 1
Growing discomfort with musicology’s ease in viewing the score as synonymous with act has propelled recent work in performance studies. Preoccupation with urtexts has encouraged the singularity of composer’s intent while discouraging inquiry into the mosaic of interpretative approach where …
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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 …