Schoenberg, Unfolding, and “Composing with Twelve Tones”: a Case Study (Op
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Counterpoint MUS – Spring 2019
Counterpoint MUS – Spring 2019 Dr. Julia Bozone Monday and Wednesday at 11:00 - 11:50 in Rm. 214 Email: [email protected] Office Hours MWF 8:00-9:00, and By Appointment during 11-3 MWF Concurrent Enrollment: Required Materials: Counterpoint, Kent Kennan, 1999. A Practical Approach to 16th Century Counterpoint, Robert Gauldin A Practical Approach to 18th Century Counterpoint, Robert Gauldin Course Description: Theory II is the second in a four-semester sequence which examines the notational, harmonic, and compositional practices of the Western art- music tradition. This course emphasizes the development of analytical and compositional skills, with particular focus on the music of the Common Practice Era (CPE). Student Learning Outcomes: Upon successful completion of this course, students will be able to accomplish the following in each category: Melody Identify proper use of melodic contrapuntal lines Identify melodic properties: apex, sequences often found in melodic lines Harmony Construct and identify properly resolved interval relationships between voices Construct and identify chord progression for contrapuntal voicing. Demonstrate, through composition and analysis, an understanding of diatonic sequences Demonstrate, through composition and analysis, an understanding of common- practice functional harmony Rhythm Demonstrate, through composition and analysis, an understanding of rhythmic notation and of all common meters Composition Compose original works utilizing two and three voice counterpoint Course Requirements: There will be frequent homework assignments utilizing both analytical and compositional skills. All work should be done with either pencil or computer notation software. Homework is to be turned in during class on the day on which it is due. Late assignments will not be accepted for credit unless by previous arrangement with the instructor. -
Schenkerian Analysis in the Modern Context of the Musical Analysis
Mathematics and Computers in Biology, Business and Acoustics THE SCHENKERIAN ANALYSIS IN THE MODERN CONTEXT OF THE MUSICAL ANALYSIS ANCA PREDA, PETRUTA-MARIA COROIU Faculty of Music Transilvania University of Brasov 9 Eroilor Blvd ROMANIA [email protected], [email protected] Abstract: - Music analysis represents the most useful way of exploration and innovation of musical interpretations. Performers who use music analysis efficiently will find it a valuable method for finding the kind of musical richness they desire in their interpretations. The use of Schenkerian analysis in performance offers a rational basis and an unique way of interpreting music in performance. Key-Words: - Schenkerian analysis, structural hearing, prolongation, progression,modernity. 1 Introduction Even in a simple piece of piano music, the ear Musical analysis is a musicological approach in hears a vast number of notes, many of them played order to determine the structural components of a simultaneously. The situation is similar to that found musical text, the technical development of the in language. Although music is quite different to discourse, the morphological descriptions and the spoken language, most listeners will still group the understanding of the meaning of the work. Analysis different sounds they hear into motifs, phrases and has complete autonomy in the context of the even longer sections. musicological disciplines as the music philosophy, Schenker was not afraid to criticize what he saw the musical aesthetics, the compositional technique, as a general lack of theoretical and practical the music history and the musical criticism. understanding amongst musicians. As a dedicated performer, composer, teacher and editor of music himself, he believed that the professional practice of 2 Problem Formulation all these activities suffered from serious misunderstandings of how tonal music works. -
The Order of Numbers in the Second Viennese School of Music
The order of numbers in the Second Viennese School of Music Carlota Sim˜oes Department of Mathematics University of Coimbra Portugal Mathematics and Music seem nowadays independent areas of knowledge. Nevertheless, strong connections exist between them since ancient times. Twentieth-century music is no exception, since in many aspects it admits an obvious mathematical formalization. In this article some twelve-tone music rules, as created by Schoenberg, are presented and translated into math- ematics. The representation obtained is used as a tool in the analysis of some compositions by Schoenberg, Berg, Webern (the Second Viennese School) and also by Milton Babbitt (a contemporary composer born in 1916). The Second Viennese School of Music The 12-tone music was condemned by the Nazis (and forbidden in the occupied Europe) because its author was a Jew; by the Stalinists for having a bourgeois cosmopolitan formalism; by the public for being different from everything else. Roland de Cand´e[2] Arnold Schoenberg (1874-1951) was born in Vienna, in a Jewish family. He lived several years in Vienna and in Berlin. In 1933, forced to leave the Academy of Arts of Berlin, he moved to Paris and short after to the United States. He lived in Los Angeles from 1934 until the end of his life. In 1923 Schoenberg presented the twelve-tone music together with a new composition method, also adopted by Alban Berg (1885-1935) and Anton Webern (1883-1945), his students since 1904. The three composers were so closely associated that they became known as the Second Viennese School of Music. -
Bmus 1 Analysis Week 9 Project 2
BMus 1 Analysis: Week 9 1 BMus 1 Analysis Week 9 Project 2 Just to remind you: the second project for this module is an essay (c. 1500 words) on one short post-tonal work from the list below. All of the works can be found in the library; if they’re not available for any reason, ask me for a copy. (Most can be found online as well.) Béla Bartók, 44 Duos for Violin, no. 33: ‘Erntelied’ (‘Harvest Song’) Harrison Birtwistle, Duets for Storab, any two movements Ruth Crawford-Seeger, String Quartet, movt. 2: ‘Leggiero’ or movt. 3: ‘Andante’ György Kurtag, Játékok Book 6, ‘In memoriam András Mihály’ Elisabeth Lutyens, Présages op. 53, theme and variations 1-2. Olivier Messiaen, Préludes, no. 1: ’La Colombe’ Kaija Saariaho, Sept Papillons, movements 1 and 2 Arnold Schoenberg, 6 Little Piano Pieces, Op.19: No. 2 (Langsam) Igor Stravinsky, 3 pieces for String Quartet, no. 1 Anton Webern, Variations op 27: no. 2 What to cover You may format your essay as you wish, according to what best suits the piece you’ve selected. However, you should aim to comment on the following (interrelated) features of your chosen work: • Formal Design o How is this articulated? This may involve pitch / tempo / changes of texture / dynamics / phrasing and other musical features. • Pitch Structure o Use of interval / mode(s) / pitch sets / 12-note chords and other techniques • Nature and Handling of Melodic and Harmonic Materials o How is the material constructed, treated, developed and/or elaboration in the work? Do not forget the importance of rhythm as well as pitch. -
Kostka, Stefan
TEN Classical Serialism INTRODUCTION When Schoenberg composed the first twelve-tone piece in the summer of 192 1, I the "Pre- lude" to what would eventually become his Suite, Op. 25 (1923), he carried to a conclusion the developments in chromaticism that had begun many decades earlier. The assault of chromaticism on the tonal system had led to the nonsystem of free atonality, and now Schoenberg had developed a "method [he insisted it was not a "system"] of composing with twelve tones that are related only with one another." Free atonality achieved some of its effect through the use of aggregates, as we have seen, and many atonal composers seemed to have been convinced that atonality could best be achieved through some sort of regular recycling of the twelve pitch class- es. But it was Schoenberg who came up with the idea of arranging the twelve pitch classes into a particular series, or row, th at would remain essentially constant through- out a composition. Various twelve-tone melodies that predate 1921 are often cited as precursors of Schoenberg's tone row, a famous example being the fugue theme from Richard Strauss's Thus Spake Zararhustra (1895). A less famous example, but one closer than Strauss's theme to Schoenberg'S method, is seen in Example IO-\. Notice that Ives holds off the last pitch class, C, for measures until its dramatic entrance in m. 68. Tn the music of Strauss and rves th e twelve-note theme is a curiosity, but in the mu sic of Schoenberg and his fo ll owers the twelve-note row is a basic shape that can be presented in four well-defined ways, thereby assuring a certain unity in the pitch domain of a composition. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
INVARIANCE PROPERTIES of SCHOENBERG's TONE ROW SYSTEM by James A. Fill and Alan J. Izenman Technical·Report No. 328 Department
INVARIANCE PROPERTIES OF SCHOENBERG'S TONE ROW SYSTEM by James A. Fill and Alan J. Izenman Technical·Report No. 328 Department of Applied Statistics School of Statistics University of Minnesota Saint Paul, MN 55108 October 1978 ~ 'It -: -·, ........ .t .. ,.. SUMMARY -~ This paper organizes in a ~ystematic manner the major features of a general theory of m-tone rows. A special case of this development is the twelve-tone row system of musical composition as introduced by Arnold Schoenberg and his Viennese school. The theory as outlined here applies to tone rows of arbitrary length, and can be applied to microtonal composition for electronic media. Key words: 12-tone rows, m-tone rows, inversion, retrograde, retrograde-inversion, transposition, set-complex, permutations. Short title: Schoenberg's Tone .Row System. , - , -.-· 1. Introduction. Musical composition in the twentieth century has been ~ enlivened by Arnold Schoenberg's introduction of a structured system which em phasizes.its serial and atonal nature. Schoenberg called his system "A Method of Composing with Twelve Tones which are Related Only with One Another" (12, p. 107]. Although Schoenberg himself regarded his work as the logical outgrowth of tendencies inherent in the development of Austro-German music during the previous one hundred years, it has been criticized as purely "abstract and mathematical cerebration" and a certain amount of controversy still surrounds the method. The fundamental building-block in Schoenberg's system is the twelve-tone !2!!, a specific linear ordering of all twelve notes--C, CU, D, Eb, E, F, FU, G, G#, A, Bb, and B--of the equally tempered chromatic scale, each note appearing once and only once within the row. -
Edinburgh International Festival 1962
WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry. -
The Study of the Relationship Between Arnold Schoenberg and Wassily
THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Download Booklet
A c k n o w l e d g m e n t s Zeitmasze Recorded September 29th and 30th, 2011, Dreamflower Studios, Bronxville, NY Engineer & Mastering: Jeremy Tressler Producer: Mark Lieb Assistant producer: Rose Bellini Published by Universal Edition Wind Quintet, Op. 26 Recorded June 1st, 2nd & 3rd, 2010, Dreamflower Studios, Bronxville, NY Engineer & Mastering: Jeremy Tressler Producer: Mark Lieb p h o e n i x e n s e m b l e Assistant producer: Rose Bellini Published by Belmont Music Publishers Session Photos: Piero Ribelli Cover image: Philip Blackbum www.albanyrecords.com TROY1371 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 karlheinz StockhauSen zeitmaSze albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 arnold Schoenberg Wind Quintet, op. 26 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. T h e M u s i c Robin Maconie, in his book, Other Planets, the Music of Karlheinz Stockhausen, writes about the piece: “ John Cage tells Karlheinz Stockhausen: Zeitmasze (1957) an amusing story of passing by a mechanized shop window display set up to demonstrate the smooth writing and con- Karlheinz Stockhausen (1928 – 2007) was born in Mödrath, Germany, near Cologne. At the age of seven he received his tinuous flow of a fountain pen. The demonstration had gone horribly wrong, bending the nib and scattering ink in every first music lessons studying piano, and as music piqued his interest, by 1947 was studying piano and music pedagogy direction. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.