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Arnold Schoenberg's theory of music has been much discussed but his approach to music theory needs a new historical and theoretical assessment in order to provide a clearer understanding of his contributions to music theory and analysis. Norton Dudeque's achievement in this book involves the synthesis of Schoenberg's theoretical ideas from the whole of the composer's working life, including material only published well after his death. The book discusses Schoenberg's rejection of his German music theory heritage and past approaches to music-theory pedagogy, the need for looking at musical structures differently and to avoid aesthetic and stylistic issues. Dudeque provides a unique understanding of the systematization of Schoenberg's tonal-harmonic theory, thematic/motivic-development theory and the links with contemporary and past music theories. The book is complemented by a special section that explores the practical application of the theoretical material already discussed. The focus of this section is on Schoenberg's analytical practice, and the author's response to it. Norton Dudeque therefore provides a comprehensive understanding of Schoenberg's thinking on tonal harmony, motive and form that has hitherto not been attempted.
Arnold Schoenberg's theory of music has been much discussed but his approach to music theory needs a new historical and theoretical assessment in order to provide a clearer understanding of his contributions to music theory and analysis. Norton Dudeque's achievement in this book involves the synthesis of Schoenberg's theoretical ideas from the whole of the composer's working life, including material only published well after his death. The book discusses Schoenberg's rejection of his German music theory heritage and past approaches to music-theory pedagogy, the need for looking at musical structures differently and to avoid aesthetic and stylistic issues. Dudeque provides a unique understanding of the systematization of Schoenberg's tonal-harmonic theory, thematic/motivic-development theory and the links with contemporary and past music theories. The book is complemented by a special section that explores the practical application of the theoretical material already discussed. The focus of this section is on Schoenberg's analytical practice, and the author's response to it. Norton Dudeque therefore provides a comprehensive understanding of Schoenberg's thinking on tonal harmony, motive and form that has hitherto not been attempted.
Schoenberg's Program Notes and Musical Analyses is a comprehensive study of the composer's writings about his own music. The texts include program notes, letters, sketch materials, pre-concert talks, public lectures, scholarly writings, newspaper articles, interviews, pedagogical materials, publicity fliers, radio broadcasts, and liner notes.
Selected by Choice magazine as an Outstanding Academic Book
Award-winning author Jack Boss returns with the 'prequel' to Schoenberg's Twelve-Tone Music (Cambridge, 2014) demonstrating that the term 'atonal' is meaningful in describing Schoenberg's music from 1908 to 1921. This book shows how Schoenberg's atonal music can be understood in terms of successions of pitch and rhythmic motives and pitch-class sets that flesh out the large frameworks of 'musical idea' and 'basic image'. It also explains how tonality, after losing its structural role in Schoenberg's music after 1908, begins to re-appear not long after as an occasional expressive device. Like its predecessor, Schoenberg's Atonal Music contains close readings of representative works, including the Op. 11 and Op. 19 Piano Pieces, the Op. 15 George-Lieder, the monodrama Erwartung, and Pierrot lunaire. These analyses are illustrated by richly detailed musical examples, revealing the underlying logic of some of Schoenberg's most difficult pieces of music.
Jack Boss presents detailed analyses of Arnold Schoenberg's twelve-tone pieces, bringing the composer's 'musical idea' - problem, elaboration, solution - to life.
Presents one of the most important documents in twentieth century musical thought.
In this thought provoking study, Silvina Milstein proposes a reconstruction of Schoenberg's conception of compositional process in his twelve-tone works, which challenges the prevalent view that this music is to be appropriately understood exclusively in terms of the new method. Her claim that in Scoenberg we encounter hierarchical pitch relations operating in a twelve-tone context is supported by in-depth musical analysis and the commentary on the sketch material, which shows tonal considerations to be a primary concern and even an important criterion in the composition of the set itself. The core of the book consists of detailed analytical studies; yet its heavy reliance on factors outside the score places this work beyond the boundaries of textual analysis into the field of this history of musical ideas.
"A book to which I will return for information and instruction every time I wish to talk about, analyze, or write about Schoenberg's compositions of the period 1893-1908."--Ethan Haimo, author of Schoenberg's Serial Odyssey "This is the first book that adequately considers Schoenberg's musical and aesthetic development in what Frisch persuasively identifies as a coherent group of early works. . . . [It] should spark a debate that will strengthen our understanding of Schoenberg's early tonal artistry."--Martha Hyde, author of Schoenberg's Twelve-Tone Harmony