DOCSLIB.ORG

1 the Influences of Émile Jaques-Dalcroze's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Influences of Émile Jaques-Dalcroze’s Eurhythmics Found in Frank Martin's 8 Préludes Pour Le Piano Item Type text; Electronic Dissertation Authors Poon, Chiew Hwa Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 15:12:28 Link to Item http://hdl.handle.net/10150/625643 1 THE INFLUENCES OF ÉMILE JAQUES-DALCROZE’S EURHYTHMICS FOUND IN FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO by Chiew Hwa Poon ______________________ Copyright © Chiew Hwa Poon 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Chiew Hwa Poon, titled The Influences of Émile Jaques-Dalcroze’s Eurhythmics found in Frank Martin’s 8 Préludes pour le piano and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Musical Arts. _____________________________________________________ Date: 5/1/17 Tannis Gibson _____________________________________________________ Date: 5/1/17 Lisa Zdechlik _____________________________________________________ Date: 5/1/17 Shelly Cooper Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. _______________________________________________________ Date: 5/1/17 Dissertation Director: Tannis Gibson 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Chiew Hwa Poon 4 ACKNOWLEDGEMENTS I wish to express my deepest gratitude to my major professor, Professor Tannis Gibson. Thank you for being my teacher and believing in me. You have been a tremendous inspiration to me in how you live as a passionate and artistic pianist and a dedicated and supportive teacher. It has been the greatest privilege to study with you and work with you. Thank you, Dr. Lisa Zdechlik. I am grateful to work with you as a student and teaching assistant. Your generous suggestions and advice are always important to me. I would not teach in the way I do now without your patience, knowledge and guidance. I really appreciate your effort and encouragement in making me a better teacher. Thank you, Dr. Shelly Cooper for serving as my committee member. I am thankful for your support and intelligent ideas. Observing how you teach early childhood classes and understanding the principles behind the methods has been one of my most rewarding experiences throughout my studies. I would like to thank my colleagues Chia-Chun Ko, Hye-Yeon Park, Amy Burmeister, Woan Ching Lim and Kimberly Prins Moeller. Your friendship, love and support has been a wonderful gift to me throughout my journey. Thank you for sharing your precious talent and time with me. Finally, a special thank you to my family for your love, trust and endless support. I would not have made it without you all. Words are not enough to express how grateful I am to have all of you as part of my life. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ..................................................................................7 LIST OF FIGURES ....................................................................................................... 10 ABSTRACT………………………………………………………………………………...……….…...12 CHAPTER I: INTRODUCTION ................................................................................... 13 Intent and Scope................................................................................................. 13 Review of Scholarly Literature ........................................................................... 17 CHAPTER II: BRIEF BIOGRAPHY OF FRANK MARTIN AND OVERVIEW OF HIS MAJOR WORKS.................................................................................. 21 Life and Musical Background of Frank Martin ................................................... 21 Stylistic Development and Overview of Martin’s Major Works.......................... 24 Early Compositional Style ...................................................................... 24 Mature Compositional Style ................................................................... 26 CHAPTER III: BRIEF BIOGRAPHY OF ÉMILE JAQUES-DALCROZE AND OVERVIEW OF HIS EURHYTHMICS METHOD .............................. 30 Dalcroze’s Life and the Development of his Educational Method ....................... 30 Dalcroze Eurhythmics ........................................................................................ 34 CHAPTER IV: THE CONNECTIONS BETWEEN FRANK MARTIN AND ÉMILE JAQUES-DALCROZE ......................................................................... 38 CHAPTER V: FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO .......................... 44 Background ........................................................................................................ 44 Influences of J.S. Bach and Arnold Schoenberg ................................................. 47 6 CHAPTER VI: EURHYTHMICS ELEMENTS FOUND IN FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO AND EURHYTHMICS-BASED ACTIVITIES ........................................................................................ 51 Irregular Measures ............................................................................................. 53 Unequal Beats .................................................................................................... 65 Polyrhythm ........................................................................................................ 73 Rhythmic Counterpoint ...................................................................................... 81 Canon……………………………………………………………………….……………………88 CHAPTER VII: CONCLUSION ................................................................................... 93 APPENDICES………………………………………………………………………..…………….……97 REFERENCES …………………………………………………………………………….…………..103 7 LIST OF MUSICAL EXAMPLES Musical Example 4.1. Polymeter and polyrhythm in Martin’s Etude rythmique, mm. 1-9…………………………………………………………. 38 Musical Example 5.1. B-A-C-H motif in Martin’s 8 Préludes pour le piano, Prélude I, mm. 1-3………...……………………………………. 46 Musical Example 5.2. B-A-C-H motif in Martin’s 8 Préludes pour le piano, Prélude II, mm. 1-2…………………..………………………..... 46 Musical Example 5.3. Pseudo-twelve-tone row in Martin’s 8 Préludes pour le piano, Prélude VI, mm. 1-2…………………………………………….. 47 Musical Example 5.4. Twelve tone rows in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 17-20………...………………………………. 48 Musical Example 6.1. Irregular measures in Kavaldjiev’s Dilmano, Dilbero, mm. 1-9…………………………………………………………. 52 Musical Example 6.2. Irregular measures exercises in Dalcroze’s La Rythmique, Volume 2, Méthode Jaques-Dalcroze, Mesure alternées, p. 1.… 53 Musical Example 6.3. Irregular measures in Martin’s 8 Préludes pour le piano, Prélude IV, mm. 1-6………………………………….......…..…. 54 Musical Example 6.4. Dalcroze’s subdivision of long note-values into different groupings, Rhythm, Music and Education……………………… 55 Musical Example 6.5. Exercises in 6 beats, Dalcroze’s La Rythmique, Volume 2, p. 2…………………………………………………... 55 Musical Example 6.6. Meter changes in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 39-41………………………….......…………. 55 Musical Example 6.7. Meter changes in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 80-82………...………………………………. 56 Musical Example 6.8. Meter changes in Martin’s 8 Préludes pour le piano, Prélude VII, mm. 88-89…………...……………………………. 56 8 Musical Example 6.9: Implied meter changes in Martin’s 8 Préludes pour le piano, Prélude VI, mm. 1-2………………………………………….…. 57 Musical Example 6.10. Irregular measures exercise using chords from Martin’s 8 Préludes pour le piano, Prélude IV, mm. 1-6……………….…. 60 Musical Example 6.11. Dalcroze’s Unequal Beats examples……………………….…... 63 Musical Example 6.12. Unequal beats in Kavaldjiev’s Dilmano, Dilbero, mm. 1-2.….... 64 Musical Example 6.13. Unequal beats in Martin’s 8 Préludes pour le piano, Prélude IV, mm. 1-3………………………….………………... 65 Musical Example 6.14. Unequal beats in Martin’s 8 Préludes pour le piano, Prélude VIII, mm. 48-49………..…………………………….… 67 Musical Example 6.15. Dalcroze’s Unequal Beats example……………………….…… 67 Musical Example 6.16. Exercises of different groupings in Martin’s 8 Préludes pour
Recommended publications
  • Bmus 1 Analysis Week 9 Project 2

    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.
  • Edinburgh International Festival 1962

    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.
  • Emile Jaques-D Alcroze' S Influence on Frank Martin

    Emile Jaques-D Alcroze' S Influence on Frank Martin

    EMILE JAQUES-DALCROZE' S INFLUENCE ON FRANK MARTIN: 1924-1937 DANIEL I. RUBINOFF A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90332-2 Our file Notre reference ISBN: 978-0-494-90332-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
  • The Study of the Relationship Between Arnold Schoenberg and Wassily

    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.
  • Download Booklet

    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

    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.
  • Incorporation of the Vernacular Into the Work of Five American Composers

    Incorporation of the Vernacular Into the Work of Five American Composers

    Men and Women Get the Blues: Incorporation of the Vernacular Into the Work of Five American Composers Jan Harasim T.H. Rogers K-8 School INTRODUCTION So often we pay homage to the great European composers without considering the enormous contributions of men and women from our own country. There is no doubt that composers such as Bach, Beethoven, Brahms, and Mozart should be regarded as master composers, but typically, education about American composers and the influence of our own cultural traditions are too often neglected. In addition, when we focus on composers, the contributions of American women are especially overlooked. The unique characteristics of American culture have provided a wealth of material for 20th century composers to draw upon, from the folksongs of Appalachia and the work songs and sea chanteys of many generations, to the vibrant tapestry of jazz and the blues. This curriculum unit will delve into our broad American heritage of sounds, consider our unique cultural experiences, explore the influence of folk music, and examine the perspective of gender on 20th century American music. The people and events in the United States have created a richly diverse society that expresses itself in a myriad of musical styles. The student population at my urban district school exemplifies this diversity. Our students speak as many as six languages, including American Sign Language (ASL). Our population includes multiply impaired, deaf, and gifted-and-talented (G/T) elementary and middle school students. This curriculum unit will be developed specifically with the gifted-and-talented in mind, but ultimately, the end product of their creativity will be shared with the entire school population.
  • Carmen & Vivaldi

    Carmen & Vivaldi

    CARMEN & VIVALDI Zachary Schwartzman conductor Saturday, March 20, 2021 Performance # 164 Season 6, Concert 12 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS 4 CONCERT QUICK GUIDE 23 THE ADMINISTRATION 5 THE MUSIC 24 ABOUT BARD COLLEGE 6 ANTONIO VIVALDI CONCERTO FOR STRINGS IN G MINOR, RV 156 7 FRANK MARTIN PETITE SYMPHONIE CONCERTANTE 8 ARVO PÄRT CANTUS IN MEMORY OF BENJAMIN BRITTEN 9 RODION SHCHEDRIN CARMEN SUITE (AFTER BIZET’S OPERA) 10 THE ARTISTS 11 ZACHARY SCHWARTZMAN conductor 12 FRANK CORLISS piano 13 TAYLOR ANN FLESHMAN TŌN ’22 harp 14 RENÉE ANNE LOUPRETTE harpsichord 15 ARVO PÄRT composer 16 RODION SHCHEDRIN composer 17 THE ORCHESTRA NOW 19 SER KONVALIN horn 20 CHARLES GILLETTE percussion 21 SUPPORT TŌN Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social 22 THE TŌN FUND DONORS distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ZACHARY SCHWARTZMAN conductor CONCERT TIMELINE 1 hour and 40 minutes Petite symphonie Concerto concertante Cantus Carmen Suite 6 min 21 min 6 min 42 min Brief remarks by Ser Konvalin horn ANTONIO VIVALDI Born 3/4/1678 in Venice, Italy Died 7/27 or 28/1741 at age 63 in Vienna CONCERTO FOR STRINGS IN G MINOR,
  • Chapter 28: Neoclassicism and Twelve-Tone Music: 1915–50 I

    Chapter 28: Neoclassicism and Twelve-Tone Music: 1915–50 I

    Chapter 28: Neoclassicism and Twelve-Tone Music: 1915–50 I. Introduction A. The carnage of World War I shattered the ideals of Romanticism. II. The First World War and its impact on the arts A. The wave of shock produced by the Great War reverberated in the arts. A preference emerged for spoken over sung, reason over feeling, and reportage over poetry. III. Neoclassicism A. After shocking the world with the scandalous Rite of Spring (and a few other works), Stravinsky went in an entirely different direction in 1923 with his Octet for woodwinds. This work marks the beginning of a new style: Neoclassicism. 1. This style was marked by “objectivity,” which composers conveyed by bringing back eighteenth-century gestures, although it could include aspects of Baroque, popular music of the 1920s, and even Tchaikovsky. IV. Igor Stravinsky’s Neoclassical path A. At the end of World War I (1918), Stravinsky composed Histoire du soldat. 1. The ensemble was small, by comparison with the Rite, and featured instruments associated with jazz. 2. Soon thereafter, Diaghilev and his recent choreographer Massine teamed up with Stravinsky to do a work based on eighteenth-century music: Pulcinella. 3. These two works (Histoire du soldat and Pulcinella) were stage works, but Stravinsky soon looked to instrumental pieces for this developing new style. 4. The raw aspect of Rite was noted early on. This aspect connects it with the lack of Romanticism (“renunciation of ‘sauce’”) noted in the later works. 5. In the 1920s, irony triumphed over sincerity as an artistic aim. B. The music of Stravinsky’s Octet 1.
  • STYLE and IDEA

    STYLE and IDEA

    STYLE and IDEA by ARNOLD SCHOENBERG PHILOSOPHICAL LIBRARY New York CoPYRIGHT, 1950, BY PHILOSOPHICAL LIBRARY, INC. 15 EAsT 40TH STREET, NEw YoRK, N. Y. Printed in the United States of America editor's foreword ARNOLD ScHOENBERG, as an author, has his own personality and ideas, not only in German but also in English. Several of the essays now composing Style and Idea were originally written in German. In translating these, I have, at the author's wish, adhered as literally to the original style as English usage allows. Thus there should be a certain con­ sistency of expression between these and the later essays which were written in English but which still bear the earmarks of Schoenberg's individual Ger­ man style. Schoenberg himself has elucidated his attitude towards his own manner of writing in English as follows: ". I do not plan to hide the fact that I am not born in this language and I do not want to parade adorned by stylistic merits of another person." Obe­ dience to this viewpoint has governed editorial ac­ tivities throughout. It may also be stated that, of set purpose, no at­ tempt has been made to eliminate any possible in­ consistencies in the points of view expressed in the different essays. It should be remembered that they represent the product of nearly forty years of Schoenberg's intellectual activity, and hence reflect the growth and development of his ideas during that time. What they do not present is a fixed dog­ ma and no such thing should be sought for in them.
  • Twelve-Tone Serialism: Exploring the Works of Anton Webern James P

    Twelve-Tone Serialism: Exploring the Works of Anton Webern James P

    University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Spring 5-19-2015 Twelve-tone Serialism: Exploring the Works of Anton Webern James P. Kinney University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Music Theory Commons Digital USD Citation Kinney, James P., "Twelve-tone Serialism: Exploring the Works of Anton Webern" (2015). Undergraduate Honors Theses. 1. https://digital.sandiego.edu/honors_theses/1 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Twelve-tone Serialism: Exploring the Works of Anton Webern ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By James Patrick Kinney Music 2015 Introduction Whenever I tell people I am double majoring in mathematics and music, I usually get one of two responses: either “I’ve heard those two are very similar” or “Really? Wow, those are total opposites!” The truth is that mathematics and music have much more in common than most people, including me, understand. There have been at least two books written as extensions of lecture notes for university classes about this connection between math and music. One was written by David Wright at Washington University in St. Louis, and he introduces the book by saying “It has been observed that mathematics is the most abstract of the sciences, music the most abstract of the arts” and references both Pythagoras and J.S.
  • Timbre in Modern Music

    Timbre in Modern Music

    The Pennsylvania State University The Graduate School College of Arts and Architecture THE EVOLUTION OF SCHOENBERG’S KLANGFARBENMELODIE: THE IMPORTANCE OF TIMBRE IN MODERN MUSIC A Thesis in Musicology by Christopher Lloyd Hamberger 2012 Christopher Lloyd Hamberger Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2012 The thesis of Christopher Lloyd Hamberger was reviewed and approved* by the following: Maureen A. Carr Distinguished Professor of Music Theory Thesis Advisor Charles D. Youmans Associate Professor of Musicology Marica S. Tacconi Professor of Musicology Assistant Director for Research and Graduate Studies *Signatures are on file in the Graduate School ii ABSTRACT Austrian composer Arnold Schoenberg is viewed today as one of the most influential and controversial figures of the twentieth-century musical landscape. Though Schoenberg’s fame and infamy are mainly concerned with his groundbreaking compositional innovation the twelve-tone method, Schoenberg also developed other concepts which would become important aspects of modern music, one of these being the idea of Klangfarbenmelodie. Klangfarbenmelodie or tone-color-melody is often associated not only with Schoenberg himself, but also with one of his pupils, Anton Webern. The term itself has developed two different yet interrelated meanings, one being associated with Schoenberg, the other with Webern. The similarities and differences between these two definitions will be the subject of this study, which will also include an assessment of the musical environment which allowed for the concept to be created. The continued use of the concept of Klangfarbenmelodie in modern music will also be discussed, culminating in an examination of a contemporary compositional approach to timbre which incorporates aspects of both Schoenberg’s and Webern’s use of Klangfarbenmelodie.