Twelve-note composition - Paul Ayick Vintage Brass
... assumed, the moment the series is used compositionally there are inevitable ambiguities. The presence of another structural attribute, in addition to that of serial order, is almost always implied: the partitioning of the series into segments. It has been shown (exx.4–6) how a set segmented into two ...
... assumed, the moment the series is used compositionally there are inevitable ambiguities. The presence of another structural attribute, in addition to that of serial order, is almost always implied: the partitioning of the series into segments. It has been shown (exx.4–6) how a set segmented into two ...
On Duration and Developing Variation
... [12] By 1917, Schoenberg felt it necessary to distinguish a general, ornamental type of variation from a more substantial process called developing variation. While Schoenberg may not have employed the term “developing variation” as early as 1911, we can be confident that he was aware of a compositi ...
... [12] By 1917, Schoenberg felt it necessary to distinguish a general, ornamental type of variation from a more substantial process called developing variation. While Schoenberg may not have employed the term “developing variation” as early as 1911, we can be confident that he was aware of a compositi ...
The Musical Idea and the Basic Image in an Atonal Song
... statements of the sort “Schoenberg did X” or “the piece does X.” The reader should understand those statements as actually saying “(It is reasonable, in my opinion, to conceive that) the piece does X” or, even better, “(To imagine that) Schoenberg did X (helps me to create for myself an interesting ...
... statements of the sort “Schoenberg did X” or “the piece does X.” The reader should understand those statements as actually saying “(It is reasonable, in my opinion, to conceive that) the piece does X” or, even better, “(To imagine that) Schoenberg did X (helps me to create for myself an interesting ...
On the Origins of Schoenberg`s Sprechgesang in Pierrot Lunaire
... Introduction Schoenberg wrote Pierrot Lunaire in 1912, after being commissioned by Albertine Zehme, an actress who organized evenings of poetry readings and recitations accompanied by piano or small instrumental (music) ensembles. The texts were chosen from a collection of fifty poems written by the ...
... Introduction Schoenberg wrote Pierrot Lunaire in 1912, after being commissioned by Albertine Zehme, an actress who organized evenings of poetry readings and recitations accompanied by piano or small instrumental (music) ensembles. The texts were chosen from a collection of fifty poems written by the ...
Six Bagatelles for String Quartet, Op. 9, No. 5 “Äußerst langsam
... clearly is trying to convey the idea that these are not weighty, monumental works; they are simply short novelties. ...
... clearly is trying to convey the idea that these are not weighty, monumental works; they are simply short novelties. ...
Wolfgang Amadeus Mozart (1756 – 1791)
... He began composing pieces as a child, mostly teaching himself musical theory through reading books and experimenting - he didn't have any lessons in composition until his late teens. When he started writing music professionally towards the end of the 19th century, he wrote in the style of the late R ...
... He began composing pieces as a child, mostly teaching himself musical theory through reading books and experimenting - he didn't have any lessons in composition until his late teens. When he started writing music professionally towards the end of the 19th century, he wrote in the style of the late R ...
A comparison of the approaches of Schoenberg, Berg
... associated with these genres. Like Webern, it was under Schoenberg’s guidance that his second pupil, Alban Berg, progressed towards a more consciously controlled compositional method over the course of his first three works. Indeed, Berg’s music has been said by many people to demonstrate better tha ...
... associated with these genres. Like Webern, it was under Schoenberg’s guidance that his second pupil, Alban Berg, progressed towards a more consciously controlled compositional method over the course of his first three works. Indeed, Berg’s music has been said by many people to demonstrate better tha ...
Beyond Tonality
... uses atonal music to make the moon seem even more sick than tonal music could ...
... uses atonal music to make the moon seem even more sick than tonal music could ...
Chapter 30: Neoclassicism and Twelve
... 1. Berg was not a child prodigy, but once he began studies with Schoenberg he pursued composition assiduously. 2. He served in World War I, and Wozzeck reflects something of his experiences. The opera premiered in 1925, although he had finished it in 1922—before adopting twelve-tone technique. 3. Wh ...
... 1. Berg was not a child prodigy, but once he began studies with Schoenberg he pursued composition assiduously. 2. He served in World War I, and Wozzeck reflects something of his experiences. The opera premiered in 1925, although he had finished it in 1922—before adopting twelve-tone technique. 3. Wh ...
Modern Music, 1900-1950 By Michelle Miller
... Parrot). In this composition he said “The colors meant everything, the notes nothing at all.” Every detail was meant to convey inner thoughts, emotions, and experiences. ...
... Parrot). In this composition he said “The colors meant everything, the notes nothing at all.” Every detail was meant to convey inner thoughts, emotions, and experiences. ...
Late Nineteenth-Century Developments after Beethoven
... violent and extremely intense way. Most often related to atonal and 12-tone composition Arnold Schoenberg (1874-1951) Atonality Sprechstimme, Sprechgesang Example: Arnold Schoenberg, Verklärte Nacht (Transfigured Night) (1899) Example: Arnold Schoenberg, “Madonna”from Pierrot Lunaire (1912) [CD 5:11 ...
... violent and extremely intense way. Most often related to atonal and 12-tone composition Arnold Schoenberg (1874-1951) Atonality Sprechstimme, Sprechgesang Example: Arnold Schoenberg, Verklärte Nacht (Transfigured Night) (1899) Example: Arnold Schoenberg, “Madonna”from Pierrot Lunaire (1912) [CD 5:11 ...
storage/MUS001-Quiz Three
... 15. Which of the following statements is not true? A. John Cage invented the prepared piano, a grand piano whose sound is altered by objects such as bolts, screws, rubber bands, pieces of felt, paper, and plastic inserted between the strings of some of the keys. B. During the 1920s and 1930s, Edgard ...
... 15. Which of the following statements is not true? A. John Cage invented the prepared piano, a grand piano whose sound is altered by objects such as bolts, screws, rubber bands, pieces of felt, paper, and plastic inserted between the strings of some of the keys. B. During the 1920s and 1930s, Edgard ...
Chapter 15: European Impressionism and Modernism
... – Dissonant harmonies; atonal; disjunct vocal style; Sprechstimme creates an almost-hysterical sound – Unfolds like a stream of consciousness ...
... – Dissonant harmonies; atonal; disjunct vocal style; Sprechstimme creates an almost-hysterical sound – Unfolds like a stream of consciousness ...
Arnold Schoenberg
Arnold Schoenberg or Schönberg (German: [ˈaːʁnɔlt ˈʃøːnbɛʁk]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.