DOCSLIB.ORG

Reconceptualizing the Boundaries of Organicism in the Music of Béla Bartók

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reconceptualizing the Boundaries of Organicism in the Music of Béla Bartók Copyright © 2008 by Michael John Malone All rights reserved The Dissertation Committee for Michael John Malone certifies that this is the approved version of the following dissertation: Symbols of Transformation: Reconceptualizing the Boundaries of Organicism in the Music of Béla Bartók Committee: Elliott Antokoletz, supervisor Andrew Dell’Antonio D. Kern Holoman K. M. Knittel David Neumeyer Symbols of Transformation: Reconceptualizing the Boundaries of Organicism in the Music of Béla Bartók by Michael John Malone, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2008 In memory of my brother, Timothy John Malone (1974–2007) Acknowledgements This essay has been a long time in the works, and I am happy to have the opportunity to thank the many people who have support- ed and encouraged me along the way—without them, this project would not have been possible. I am indebted to the faculty and staff at the Butler School of Mu- sic at The University of Texas at Austin, and particularly to my advi- sor, Elliott Antokoletz, whose weekly meetings were always stimu- lating and invigorating. I have benefitted greatly from the advice and guidance of Rebecca Baltzer, Andrew Dell’Antonio, Kay Knittel, and David Neumeyer, and it is with fondness that I recall the many en- lightening conversations I had with the late Gerard Béhague. It is with deepest gratitude that I thank my friends and former colleagues at the University of California, Davis, for encouraging me to attend graduate school in the first place—especially Ulla McDan- iel and Wayne Slawson. Cheers to Jonathan and Mickey Elkus whose long and lasting friendship has enriched my life. And for the many years that Kern Holoman has been my teacher, mentor, and friend, I offer him my most profound thanks for his enthusiastic support, and for inspiring me to be a better musician and a better person. Since much of this dissertation was written in Columbus, Ohio, I am obliged Charles Atkinson for making sure I had access to ev- erything I needed from the library at The Ohio State University, and v acknowledgements to Danielle Fosler-Lussier, who has been more of an inspiration than she probably realizes. This project could not have happened without my family and friends: thanks to Jeremey McCreary for the many rousing conver- sations (and to our family for putting up with them); to Kiersten Walker and Cathy Thomas, for food, lodging, and support at a mo- ment’s notice; and Andy Austin, whose friendship has been a con- stant source of strength. For their lifelong love and unconditional support, I extend my heartfelt thanks to my parents, Barbara and John Malone, and my sister Marie. I am tremendously grateful to my wife, Helen, whose enduring love and endless patience make our life a joy. Finally, it is with deepest sorrow that I dedicate this project to my brother, Tim, whose strength in life was an inspiration. vi Symbols of Transformation: Reconceptualizing the Boundaries of Organicism in the Music of Béla Bartók Publication No. ____________ Michael John Malone, Ph.D. The University of Texas at Austin, 2008 Supervisor: Elliott Antokoletz This dissertation uses Béla Bartók’s 1943 Concerto for Orchestra as a focal point for investigating conceptual models of music based on early twentieth-century notions of organicism. In particular, this project brings together two traditions—one structural, one narra- tive—in an attempt to integrate motivic allusion and programmatic discourse, and places this piece within a metadiscourse of musical ‘Fate’ stories that continually point back to Beethoven. Based largely on the work of George Lakoff, chapter 1 is an over- view of modern category theories that rejects objectivism and estab- lishes a philosophical view of meaning that is shaped by our concep- tual models. Chapter 2 is a comparison of the writings of Schoenberg and Bartók that invoke organicist values of musical development and variation. Stemming from Bartók’s claim that Schoenberg’s Op. 11 vii abstract showed composers the “new ways and means” of modern composi- tion, this chapter speculates on potential influences and involves a reinvestigation of Schoenberg’s Op. 11, No. 1. Chapter 3 examines the difference between strict hierarchical models of music and metonymic reductions. Following a critique of Fred Lerdahl’s recent attempts to apply his Chomskian prolonga- tional model to post-tonal and atonal music, this chapter traces the integration of motivic parallelism and key architecture in tonal mu- sic as a primary organizing feature of musical form, foreshadowing their use by Bartók as replacements for the structural functions of harmony. Chapter 4 investigates the relationship of musical motives and post-Beethovenian narratives of fate/overcoming and fate/death in music by Bizet, Verdi, Tchaikovsky, and Richard Strauss, providing a context for Bartók’s motivic and programmatic allusion to—and transformation of—that very tradition. Chapter 5 draws the material from the previous chapters togeth- er in a structural-programmatic reading of the Concerto for Orches- tra that situates it as a transformation of the evolving traditions that inform it. viii Contents List of Music Examples, Figures, and Tables . xi Prologue . 1 Chapter 1 Imaginary Boundaries. 11 Categorization. 13 Objectivism. 32 The Effects of Linguistic Categories and Naming Strategies . 37 Semiotics, Meaning, and the Conduit Metaphor . 42 Idealized Cognitive Models . 43 Metaphor. 44 Frames . 51 Metonymic Models and Hierarchy . 52 Chapter 2 Organicism and Developing Variation . 55 Organicism and Folk Music . 56 Developing Variation and Coherence. 62 Terminology and the Problem of Signification . 65 On the Relationships of Idea, Motive, Gestalt, and Grundgestalt . 68 Unvaried Repetition . 73 Hidden Relations . 76 The Boundaries of Tonality . 81 Form. 85 Schoenberg’s Op. 11, No. 1 . 87 Chapter 3 Hierarchical Categorization and Metonymy . 122 Tonal Pitch Space Theory in Post-Tonal Contexts. 124 ix contents Metaphors of Hierarchy. 134 Key Architecture and Motivic Parallelism in Tonal Music. 135 Chapter 4 Allusion, Frames, and Narratives of Fate . 160 Narrative Analysis . 165 Toward an Interpretation of b6ˆ. 178 ‘Sighing’ and ‘Fate’: Beethoven and Beyond . 193 Chapter 5 Bartók’s Concerto for Orchestra . 235 Móricz’s Sketch Studies and the Composition of the Concerto for Orchestra. 237 Bartók’s Developing Variation . 250 Sub-Surface Developing Variation . 261 Transformations of Fate. 267 Epilogue . 278 References. 282 Vita. 294 x List of Music Examples, Figures, and Tables example 2.1 Schoenberg, Op. 11, No. 1, mm. 1–33 . 91 example 2.2 Schoenberg, Op. 11, No. 1, mm. 50–end . 95 example 2.3 Schoenberg, Op. 11, No. 1, mm. 1–3, alternative divisions of opening phrase . 96 example 2.4 Schoenberg, Op. 11, No. 1, developing variation through systematic expansion of intervals: (a) mm. 1–4; (b) mm. 3–4 . 98 example 2.5 Schoenberg, Op. 11, No. 1, mm. 1–2 and 2–4, developing variation of secondary motive from “soprano” voice to “alto” voice and subsequent inversion . 99 example 2.6 Schoenberg, Op. 11, No. 1, mm. 1–2 and 2–4, developing variation of secondary motive from “soprano” voice to “bass” voice . 99 example 2.7 Schoenberg, Op. 11, No. 1, emergence and development of chromatic vs. whole tone as secondary motive . 100 example 2.8 Schoenberg, Op. 11, No. 1, motivic “folding” as sub-surface motivic parallelism . 102 example 2.9 Schoenberg, Op. 11, No. 1, two kinds of surface motive “unfolding”: (a) from m. 1 to m. 2; and (b) from m. 1 to m. 4. 102 example 2.10 Schoenberg, Op. 11, No. 1. Developing variation of an “idea” (large intervals followed by chromatic intervals) . 106 example 2.11 Schoenberg, Op. 11, No. 1, mm. 1–2 and m. 13, reinterpretation of initial motive through developing variation . 107 xi list of music examples, Figures, and Tables example 2.12 Schoenberg, Op. 11, No. 1, m. 15, developing variation of initial idea. N.B. combination of references: G#–G§ (chromatic tail) from a (mm. 1–2), and F#–D§ from a´´ (m. 9) . 108 example 2.13 Schoenberg, Op. 11, No. 1, developing variation through combination of parameters (and symmetrization of intervals): (a) mm. 1–3; (b) m. 4; and (c) mm. 9–11 . 110 example 2.14 Schoenberg, Op. 11, No. 1: (a) m. 11; (b) mm. 63–64 (end of piece) . 111 example 2.15 Schoenberg, Op. 11, No. 1, mm. 9–11, “unfolding” of 4 +/–2 in accompaniment. 113 example 2.16 Schoenberg, Op. 11, No. 1, mm. 2–3, potential for 4/2 relationship in accompanimental voice-leading transformations. 113 example 3.1 Tchaikovsky, Symphony No. 4, movement I, mm. 1–7 . 139 example 3.2 Tchaikovsky, Symphony No. 4, movement I, mm. 11–20: (a) piano reduction; (b) reduction of bass arpeggiation as diminished cycle with Db interruption . 141 example 3.3 Tchaikovsky, Symphony No. 4, movement I: (a) analysis of key architecture as unfolding of interval-3/9 cycle; (b) dual cyclic unfolding as complex key architecture (N.B., secondary unfolding of interval-4/8 cycle) . 143 example 3.4 Tchaikovsky, Symphony No. 4, movment III, analysis of key architecture as augmented triad . 146 table 3.1 Richard Strauss, Don Juan, sonata form, etc. 153 example 3.5 Richard Strauss, Don Juan, opening . 157 example 4.1 J. S. Bach, Mass in B-Minor, Crucifixus, mm. 5–9 . 187 xii list of music examples, Figures, and Tables example 4.2 Josquin Desprez, Miserere mei deus, opening: ‘sighing’ motive in all parts foreshadowing repetetitions in tenor voice . 189 example 4.3 Johann Mattheson, Der Vollkommene Capellmeister [1739], examples of emphasis: (a) chapter 8; (b) chapter 12.
Load more

Recommended publications
  • Brahms Reimagined by René Spencer Saller
    CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr.
    [Show full text]
  • Remembering Music
    lawrence m. zbikowski Remembering Music This article considers the role of memory in musical understanding through an exploration of some of the cognitive resources recruited for musical memory, with a special emphasis on processes of categorization and on the different memory systems which are brought to bear on musical phenomena. This perspective is then developed through a close analysis of the ways memory is exploited and expanded in To- ru Takemitsu’s Equinox, a short work for guitar written in 1993. Early in the second volume of Marcel Proust’s À la recherche du temps perdu (translated as In the Shadow of Young Girls in Flower) the narrator – having overcome a bit of awkwardness with Charles Swann – has become an intimate of Swann’s household, and the favored friend of his daughter Gilberte. On some days he joins the Swanns as they while away the afternoon at home, but on most occasions he joins them for a drive in the Bois de Boulogne. On occasion, before she changes her dress in preparation for their drive, Madame Swann sits down at the piano: The fingers of her lovely hands, emerging from the sleeves of her tea gown in crêpe de Chine, pink, white, or at times in brighter colors, wandered on the keyboard with a wistful- ness of which her eyes were so full, and her heart so empty. It was on one of those days that she happened to play the part of the Vinteuil sonata with the little phrase that Swann had once loved so much.1 This event provides Proust with an opportunity to reflect on the challenges of listening to music, and in particular on the difficulty of making something of a new piece on our first encounter with it.
    [Show full text]
  • 24. Debussy Pour Le Piano: Sarabande (For Unit 3: Developing Musical Understanding)
    24. Debussy Pour le piano: Sarabande (For Unit 3: Developing Musical Understanding) Introduction and Performance circumstances Debussy probably decided to compose a Sarabande partly because he knew Erik Satie’s three sarabandes of 1887, with their similarly sensuous harmony. There are no grounds for referring to Debussy’s Sarabande as ‘impressionist’, even though the piece is very similar in date to his Prélude à l’après-midi d’un faune. The term ‘neoclassical’ may be more suitable, although we do not hear the post-World War I type of ‘wrong-note’ neoclassicism of, for example, Stravinsky’s Pulcinella. In public performance Debussy’s Sarabande is most likely to be heard as part of a piano recital, along with the two other movements which flank it (Prélude and Toccata) from Pour le piano. Incidentally the suite was published in 1901, but the Sarabande (in a slightly different version to the one we know) dates back to 1894. Performing Forces and their Handling Sarabande, for solo piano, does not depend for its effect on any virtuosity or display. Marguerite Long, a pupil of Debussy, noted that the composer ‘himself played [the piece] as no one [else] could ever have done, with those marvellous successions of chords sustained by his intense legato’. A wide range is involved, from (several) very low C sharps to E just over five octaves higher; there are no extremely high notes. Some left-hand chords extend to well over an octave and have to be spread. Texture The texture is almost entirely homophonic, with much parallelism, and is often extremely sonorous on account of the many chords with six or more notes.
    [Show full text]
  • A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.
    [Show full text]
  • 4. Wagner Prelude to Tristan Und Isolde (For Unit 6: Developing Musical Understanding)
    4. Wagner Prelude to Tristan und Isolde (For Unit 6: Developing Musical Understanding) Background information and performance circumstances Richard Wagner (1813-1883) was the greatest exponent of mid-nineteenth-century German romanticism. Like some other leading nineteenth-century musicians, but unlike those from previous eras, he was never a professional instrumentalist or singer, but worked as a freelance composer and conductor. A genius of over-riding force and ambition, he created a new genre of ‘music drama’ and greatly expanded the expressive possibilities of tonal composition. His works divided musical opinion, and strongly influenced several generations of composers across Europe. Career Brought up in a family with wide and somewhat Bohemian artistic connections, Wagner was discouraged by his mother from studying music, and at first was drawn more to literature – a source of inspiration he shared with many other romantic composers. It was only at the age of 15 that he began a secret study of harmony, working from a German translation of Logier’s School of Thoroughbass. [A reprint of this book is available on the Internet - http://archive.org/details/logierscomprehen00logi. The approach to basic harmony, remarkably, is very much the same as we use today.] Eventually he took private composition lessons, completing four years of study in 1832. Meanwhile his impatience with formal training and his obsessive attention to what interested him led to a succession of disasters over his education in Leipzig, successively at St Nicholas’ School, St Thomas’ School (where Bach had been cantor), and the university. At the age of 15, Wagner had written a full-length tragedy, and in 1832 he wrote the libretto to his first opera.
    [Show full text]
  • A Study of Musical Rhetoric in JS Bach's Organ Fugues
    A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people.
    [Show full text]
  • Chapter 29 60; 75 Late Romanticism in Germany and Austria 14
    23 13. (728) By 1850, __% of the compositions in orchestral concerts were by dead composers; by 1875, __% Chapter 29 60; 75 Late Romanticism in Germany and Austria 14. TQ: According to the author, Brahms understood what 1. [719] Before 1850, music was written within ________; he had to do to be successful: be aware of the style after 1850, composers had to compete with a _________. accepted by audiences and then introduce something Living memory; repertory new. 1. How are you going to succeed? Do you have that same perspective for your future? Is that concept still 2. (720) This was the beginning of musicology. What applicable to our world? 2. Why is it, then, that we editions were published? Most of the composers were continue to teach freshman music theory, etc.? Can you ________; musicologists, _________. think of instances where the academic route has been Bach, Handel, Palestrina, Mozart, Schütz, Lasso, Beethoven, circumvented? Mendelssohn, Chopin, Schumann, Schubert; German; 1. It seems that this is what our world is about: how to get German ahead. 2. rock musicians, jazz musicians 3. Renaissance and Baroque music came out in what 15. What were Brahms's orchestral works before the editions? symphonies? Denkmäler der Tonkunst (begun 1869); Denkmäler deutscher Two serenades, first piano concerto in D minor (1861), Tonkunst (begun 1892), Denkmäler der Tonkunst in Variations on a Theme of Haydn, op. 56a (1873) Österreich (begun 1894); the usual abbreviations are DT, DdT, and DTÖ 16. List the symphonies. No. 1, C Minor, Op. 68, 1876 4. What is the English collection? French? No.
    [Show full text]
  • An Account of Emotional Specificity in Classic– Romantic Music
    An Account of Emotional Specificity in Classic– Romantic Music Jeffrey Swinkin Many, if not most, contemporary philosophers of music contend that the musical expression of an emotion does not depend upon the perceiver feel- ing that emotion.1 That is, while these scholars do not necessarily deny that emotional responses to music are valuable, even inevitable, they do not view such responses as properly part of the emotional content of the work itself, or even properly part of an aesthetic experience of the work (as opposed to a more informal one). Some argue this on the basis that musical emotions lack intentional objects: if a piece expresses sadness, for example, this could not consist in the listener feeling sad for the piece gives him nothing to be sad about.2 Others invoke the problematic paradox of negative emotion: if music really made us feel sad, why would we want to listen to it? (Davies [1997] and Levinson [1997] explore this issue.) Still others observe that pieces often evoke feelings they do not express and vice versa; as Goodman states, “whatever emotion may be excited [by music] is seldom the one expressed” (1976:47). As a consequence, even when the emotions expressed by the music and those felt by the listener happen to coincide, the latter are nonetheless incidental to musical expression. Equally incidental is what composers feel when they compose. As Peter Kivy avers, “It is unthinkable that I should amend my characterization of the opening bars of Mozart’s G–minor Symphony (K. 550) as somber . if I were to discover evidence of Mozart’s happiness .
    [Show full text]
  • The Role of Neoclassicism in Generalizing Tradition: Integrating Textural, Tonal and Topical Elements at the Keyboard
    ABSTRACT Title of Dissertation: THE ROLE OF NEOCLASSICISM IN GENERALIZING TRADITION: INTEGRATING TEXTURAL, TONAL AND TOPICAL ELEMENTS AT THE KEYBOARD Ryan Eu-Jyn Chow, Doctor of Musical Arts, 2019 Dissertation directed by: Professor Bradford Gowen School of Music While neoclassicism is viewed as a reaction against tonal saturation of late Romanticism, this dissertation discusses an array of works (both within and outside the scope of interwar neoclassicism) that absorbed elements of the aesthetic. Beyond Martha Hyde’s description of the neoclassical impulse as a “metamorphic anachronism,” I propose that it can extend to the following: (1) an opposition (or apposition, as proposed by Marianne Kielian-Gilbert) between specific musical elements, (2) a capitalization on ahistorical aspects of tradition, and (3) a generalization of tradition by placing the predecessor as a special case of a larger phenomenon. The first category is exemplified through chromatic displacement technique in Francis Poulenc and modified dominants in John Ireland, illustrating the coexistence of conventional periodicity with disruptive tonal practices. The second category manifests through non-contemporaneous musical codes, such as the use of musical topics (originally put forth by Leonard Ratner) within a neoclassical framework as points of departure from tradition, or the hypermeasure (proposed by Edward Cone) that capitalizes on Baroque and Romantic-era sequencing. The third category relates to Harold Bloom’s fourth revisionary ratio of a successor de-individuating the predecessor. For example, the generalization of thematic transformation while disregarding thematic character, and the generalization of the asymmetrical Fortspinnung while disregarding metric regularity, are exhibited in the works of Ernst Krenek and Peter Mennin respectively.
    [Show full text]
  • Arnold Schoenberg in America
    Arnold Schoenberg in America Bericht zum Symposium Report of the Symposium 2. – 4. Mai 2001 JASC4-2002.indb 1 05.06.02, 13:07:56 Process Cyan Process Magenta Process Yellow Process Black Gedruckt mit Unterstützung von Bundesministerium für Bildung, Wissenschaft und Kultur in Wien Wissenschafts- und Forschungsförderung der Stadt Wien, MA 7 – Kultur Cover-Abbildung: Arnold Schönberg beim Unterricht in seinem Haus in Brentwood Park, West Los Angeles. Im Vordergrund: Natalie Limonick, H. Endicott Hansen und Alfred Carlson. Impressum Redaktion: Therese Muxeneder, Iris Pfeiffer und Verena Zemanek Medieninhaber: Arnold Schönberg Center Privatstiftung Lektorat und Satz: Schwarzenbergplatz 6 Forte OEG, Renate Stark-Voit und Thomas Stark A-1030 Wien www.schoenberg.at Koordination: Edith Barta Eine Kooperation von Arnold Schönberg Center Cover und Gestaltungskonzept: und Bohatsch Graphic Design GmbH Arnold-Schönberg-Institut der Universität für Musik und darstellende Kunst Wien Druck: G. Grasl GesmbH Herausgeber und für den Inhalt verantwortlich: © Arnold Schönberg Center, Wien 2002 Christian Meyer ISBN 3-902012-04-8 JASC4-2002.indb 2 05.06.02, 13:08:01 Process Cyan Process Magenta Process Yellow Process Black Richard Kurth The Art of Cadence in Schönberg’s Fourth String Quartet Metric Discourse or Metric Dialectic? I. One of the remarkable aspects of Schönberg’s music is the stunning variety and originality of the cadential gestures he invents. Cadences articulate the tempo- ral experiences that compose a musical form, and moments of cadence (within a piece or movement) are experienced as temporal turning points, through which the recent past comes into fully-formed shape, and the impending future arouses an invigorated sense of expectation.
    [Show full text]
  • 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.
    [Show full text]
  • Developing Variation, and the Schoenberg Critical Tradition
    Brahms, Developing Variation, and the Schoenberg Critical Tradition WALTER FRISCH In 1946 Robert Maynard Hutchins, Chancellor oristically-in his critical writings, he clearly of the University of Chicago, sought Arnold considered it one of the most important Schoenberg's advice on the creation and or- compositional principles of Western music ganization of a music department. Schoenberg from the common-practice era to his own day. recommended, as one of several possibili- It is thus worthwhile to gather and examine his ties, "a clean-cut Musicological Department," scattered remarks in order to form a clear pic- whose sole function should be research. He ture of the term and the concept. In one essay graciously provided Hutchins with "Some Schoenberg explains: Problems for the Department," a list of "a few ... with which classes could become subjects Music of the melodic of As be in- homophonic style composi- busy." might expected, Schoenberg tion, that is, music with a main theme, accompanied cluded mainly compositional and analytical by and based on harmony, produces its material by, topics, such as "methods of transition" and a as I call it, developing variation. This means that "'systematic cataloguing of features of variation of the features of a basic unit produces all He also a the thematic formulations which provide for rhythm." proposed subject sugges- and called fluency, contrasts, variety, logic unity on the tively "developing variation."' one hand, and character, mood, expression, and Although Schoenberg discussed developing every needed differentiation, on the other hand- variation only sporadically-and often aph- thus elaboratingthe idea of the piece.2 1Arnold Schoenberg, Letters, ed.
    [Show full text]