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Showing 1 to 20 of 22 for “"Webern"”.
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Anton Webern and the politics of historicism
… approach to these problems practiced by Anton Webern, an approach which can be described as ""critical historicism."" The author attempts to show that Webern's historicism supported the innovative features of his music and, in so doing, enhanced its political significance."
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Volume I. The Cantata Number Two of Anton Webern. Volume Ii. Dissertation. [Original Composition]
Made available in DSpace on 2014-12-11T17:21:20Z (GMT). No. of bitstreams: 1 7317111.pdf: 14827485 bytes, checksum: 025c95d148aeff17a6941076e280e8d4 (MD5) Previous issue date: 1972
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A critical discussion of the twelve-tonal idiom of Anton Webern and criticism of its assessmant by some natable theorists
Webern took over from Schoenberg, and others, and elevated the art of music to an auditory mathernatics. "It is given only to powerful spirits to travel this razor edge. Lesser ones 1 ack the requisite inner certainty. Indeed Webern never pandered to popular taste. iii Every tone he wrote was …
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A critical discussion of the twelve-tonal idiom of Anton Webern and criticism of its assessmant by some natable theorists
Webern took over from Schoenberg, and others, and elevated the art of music to an auditory mathernatics. "It is given only to powerful spirits to travel this razor edge. Lesser ones 1 ack the requisite inner certainty. Indeed Webern never pandered to popular taste. iii Every tone he wrote was …
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A critical discussion of the twelve-tonal idiom of Anton Webern and criticism of its assessmant by some natable theorists
Webern took over from Schoenberg, and others, and elevated the art of music to an auditory mathernatics. "It is given only to powerful spirits to travel this razor edge. Lesser ones 1 ack the requisite inner certainty. Indeed Webern never pandered to popular taste. iii Every tone he wrote was …
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A Study of Tripartite Forms in the Compositions of Anton Webern (With Original Composition by Author) Concerto for Orchestra
Made available in DSpace on 2014-12-09T19:39:33Z (GMT). No. of bitstreams: 1 6406082.pdf: 11520015 bytes, checksum: 02924f2bf19696fe1df3c4920e7341a7 (MD5) Previous issue date: 1963
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Tonal Structure in the Early Works of Anton Webern. (With Original Composition by Author) Orchestra Music in Five Movements (1959--1962)
Made available in DSpace on 2014-12-05T21:10:40Z (GMT). No. of bitstreams: 1 6206106.pdf: 15991372 bytes, checksum: 7aae5534aada5ddee205d6f559e06236 (MD5) Previous issue date: 1962
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An Analysis and Interpretation of Three Vocal Works for Soprano from Eighteenth, Nineteenth and Twentieth Centuries
… Wolfgang Amadeus Mozart, Henri Duparc, and Anton Webern.
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A Study of Selected Chorale-Based Organ Works of Siegfried Reda
… as Hindemith, Stravinsky, Schonberg, Berg, and Webern. As a culmination of his stylistic development, Reda applied serial techniques to the composition of chorale-based music.
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Tonality And Atonality In Alban Berg's Four Songs, Op2 (austria)
… Arnold Schoenberg, and his colleague Anton Webern. The latter two composers both later remembered 1908 as the year all three of them abandoned traditional tonality and began to write "atonal" music. There are problems, however, with the categories "tonal" and "atonal." Webern denied that the …
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A performer’s guide to selected solo vocal works of the Second Viennese School with a complete catalog
… the twentieth century: Arnold Schoenberg, Anton 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 …
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New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)
… These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct …
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A study of time in twentieth-century musical ritual: a musico-philosophical development from Debussy (through Stravinsky, Webern and Messiaen) to Stockhausen, in the utilization of musical time and ecstatic musical involvement for the purpose of transcending the consciousness of Real Time and Space.
The study rests on a fundamental premise: The artist, in his art, reflects the consciousness of his time. "Man of a given time and place, in creating the ideological and artistic systems by which he has expressed himself, has projected into his philosophy, his literature, and his art a reflection …
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A study of time in twentieth-century musical ritual: a musico-philosophical development from Debussy (through Stravinsky, Webern and Messiaen) to Stockhausen, in the utilization of musical time and ecstatic musical involvement for the purpose of transcending the consciousness of Real Time and Space.
The study rests on a fundamental premise: The artist, in his art, reflects the consciousness of his time. "Man of a given time and place, in creating the ideological and artistic systems by which he has expressed himself, has projected into his philosophy, his literature, and his art a reflection …
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A study of time in twentieth-century musical ritual: a musico-philosophical development from Debussy (through Stravinsky, Webern and Messiaen) to Stockhausen, in the utilization of musical time and ecstatic musical involvement for the purpose of transcending the consciousness of Real Time and Space.
The study rests on a fundamental premise: The artist, in his art, reflects the consciousness of his time. "Man of a given time and place, in creating the ideological and artistic systems by which he has expressed himself, has projected into his philosophy, his literature, and his art a reflection …
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Musical Ambiguity in Analysis and Composition: Problems of Pattern, Value, Form, and Structure
… in examples by Palestrina, Debussy, Schoenberg, Webern, and Berio. Chapter Four includes a critique of the roles played by musical ambiguity in the music theories of Schenker, Meyer, and Narmour and offers an alternative analysis of Haydn's Sonata no. 39 which features non-hierarchical …
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An approach for the advanced pianist toward developing concepts and control of vertical and horizontal motion : the two fundamental directions of movement in piano technique
… Scriabin, Rachmaninoff, Prokofiev, Bartok, Webern, Fontyn, Orff, and Copland. These present clearly isolated problems of horizontal or vertical motion as well as complex combinations of both basic motion forms. The commentaries to each excerpt are directed almost exclusively to technical …
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