Download Free Atonal Meanings Book in PDF and EPUB Free Download. You can read online Atonal Meanings and write the review.

Describes and cites examples of pitch-class sets and relations in atonal music
Portrays Schoenberg's atonal music as successions of motives and pitch-class sets that flesh out 'musical idea' and 'basic image' frameworks.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Between 1908 and 1923, Arnold Schoenberg began writing music that went against many of the accepted concepts and practices of this art. Largely following his intuition during these years, he composed some of the masterpieces of the modern repertoire--including Pierrot lunaire and Erwartung--works that have since provoked a large, though fragmented, body of critical and analytical writing. In this book, Bryan Simms combines a historical study with a close analytical reading of the music to give us a new and richer understanding of Schoenberg's seminal work during this period.
This book is a radical attempt to explain musical meaning as the complex fabric of tension and relaxation resulting from the courses of the individual musical elements: e.g. rhythm, where the musical tension manifests itself by the opposition between strong and weak beats - or harmony, where the chords of the tonal cadence generate courses of tension and relaxation. It is strongly emphasized that the total structure of contributors to the web of tension/relaxation, in short, the musical style, is constantly changing, and it is an error to believe that any musical way of articulation is eternal: new ways of expression arrive and others drop out gradually - precisely as with ordinary language. This consideration, however, implies that too many and radical changes over a short period of time are foredoomed to go over the head of the ordinary listener. The radical modernism of the 1950s illustrates how composers in their endeavour to wipe the slate clean in order to start from scratch largely failed. Attempts at semantic interpretations of music are rejected. Such interpretations belong to the private sphere and cannot be scholarly supported. No hermeneutic interpretation, however elaborate, can claim higher truth value than another.
In an age when our patterns of music consumption are changing rapidly, musical understanding has never been more relevant. Understanding Music provides readers with an ideal entry point to the topic, addressing 'both the music lover who has made listening to music an important part of his life and at the same time is willing to reflect on music and his encounter with it, as well as the more academically-minded enthusiast and the thoughtful expert.' Its author, Hans Heinrich Eggebrecht, was one of the most influential German musicologists of the twentieth century and yet he is almost unknown to English readers. His published work stretches from one end of the musicological spectrum to the other, with research on historical topics in early music, Bach, Beethoven reception, Mahler and music aesthetics all featuring. Understanding Music summarizes Eggebrecht's thoughts on the relationship between music and cognition. As he says in his preface, the purpose of his book is 'to direct the reader towards the fundamental issues and processes implied in understanding music. What does understanding mean when applied to music? How is the process to be described? What different kinds of understanding are to be distinguished here? What other concepts are implicit in and related to the concept of understanding? How is the relationship between music and the listener who understands it to be articulated? What might correct understanding of music mean given music's multiplicity of meaning and effect? Where are the limits of understanding and what lies beyond? What role do language and history play?'. Eggebrecht's answers to these and other questions amount to a compelling account of how the mind grasps the sounds of music in themselves and what other factors contribute to music's meaning so much to us as listeners.
In a critical dialogue with the metaphysical tradition from Plato to Hegel to contemporary schools of thought, the author convincingly argues that traditional rationalist metaphysics has failed to accomplish its goal of demonstrating the existence of a divine cause and moral purpose of the world. To replace the defective rationalist metaphysics, the author builds a new metaphysics on the idea that moods and affects make manifest the world's felt meanings; he argues that each feature of the world is a felt meaning in the sense that each feature is a source of a feeling-response if and when it appears. The author asserts that we must synthesize our two ways of knowing-poetic evocations and exact analyses-in order to decide which mood or affect is the appropriate appreciation of any given feature of the world. Smith gives evocative and exact explications of such features as the world's temporality, appearance, and mind-independency, as these features appear in the appropriate recitations.
This is a study of tonality and atonality in four brief pieces of Berg's work, analyzing the shift from tonal to atonal music with the view that tonality and atonality are complementary contexts framing musical coherence. The four works are described in detail, with special attention to the role of pitch structures in each. An appendix features texts in the original German and translated into English. Tucker teaches music at Mount Allison University. Annotation copyrighted by Book News Inc., Portland, OR.
George Perle has divided this collection into four parts Composers and Works (Bartïk Berg Schoenberg Scriabin and Webern Towards a New Musical Language Some Critical Appraisals of Contemporary Music Theory and On Listening to Modern Music. These 23 articles reviews lectures and speeches represent the best of 50 years of musical thought and insight by one of the keenest musical minds of this century. Sharing this particular composer's point of view leads the reader to an understanding of the linear progression(not easily apparent) from the last century to the next.
Pro Mundo - Pro Domo: The Writings of Alban Berg contains new English translations of the complete writings of the Viennese composer Alban Berg (1885-1935) and extensive commentaries tracing the history of each essay and its connection to musical culture of the early twentieth century. Berg is now recognized as a classic composer of the modern period, best known for his operas Wozzeck and Lulu. Berg, Anton Webern, and their teacher Arnold Schoenberg constitute the "Second Viennese School" which played a major role in the transformation of serious music as it entered the modern period. Berg was an avid and skillful writer. His essays include analytic studies of compositions by Schoenberg, polemics on music and musicians of his day, and lectures and miscellaneous writings on a variety of topics. Throughout his considerable and diverse corpus of writings, Berg alternates between two perspectives: Pro Mundo - Pro Domo, meaning roughly "speaking for all - speaking for myself" commenting at one moment on the general state of culture and the world, and the next moment on his own works. In his early years he also tried his hand at fictional writing, using works by Ibsen and Strindberg as models. This new English edition contains 47 essays, many of which are little known and have not been previously available in English.