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Dissertations / Theses on the topic 'Chamber music (Schoenberg, Arnold)'

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Published: 4 June 2021

Last updated: 28 July 2025

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1

Greenfield, Leah. "Extended String Techniques and Special Effects in Arnold Schoenberg's String Quartet No. 1 and Its Significance in Chamber Music Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011750/.

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Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

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2

Carrasco, Clare. "The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862862/.

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This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of

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3

Warrell, Jonathan Henry. "Repetition in the music of Arnold Schoenberg." Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435820.

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Garcia, David Manuel. "Tonality in Schoenberg's Theme and Variations for Band, Opus 43a and Symphony for Band." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1212158197.

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5

Sun, Ai-Kuang. "A critical study of Arnold Schoenberg's chamber transcription of Gustav Mahler's Das Lied von Erde the three movements for tenor /." connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/sun%5Fai-kuang/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 23, 2003, Apr. 14, 2004, Oct. 11, 2004, and Nov. 30, 2005. Includes bibliographical references (p. 95-97).

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6

Klontz, Mary-Hannah. "The Heart and Mind of Arnold Schoenberg?s ?De Profundis? Op. 50B." Thesis, George Mason University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3720713.

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<p> This research provides a guide to understanding, preparing, and performing Arnold Schoenberg’s last completed opus, “De Profundis” (Psalm 130) Op. 50B, within the context of the Hebrew chant that inspired it and Schoenberg’s other religious works, sketches, archival correspondence, and interviews with conductors. Theoretical and contextual analysis reveals significant discoveries relevant to an informed and accurate performance of the work. “De Profundis” embodies Schoenberg’s mature and most flexible twelve-tone writing at the peak of his spiritu

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7

Tapia, Perola Wajnsztejn. "Arnold Schoenberg: salmos, orações e conversas com e sobre Deus." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-24082012-105640/.

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A dissertação apresenta obras judaicas do compositor Arnold Schoenberg (1874-1951). Das obras selecionadas, foram focalizados unicamente os textos que as integram, incluindo-se as reflexões do autor sobre cada um dos temas envolvidos: os princípios da religião judaica, a sociedade à época, a Shoá e a criação do Estado de Israel. A pesquisa revelou um aspecto importante: a crença de Schoenberg em Deus foi a base para várias de suas composições, conforme afirma o autor em diversos escritos e cartas. A partir desses escritos e cartas também foi possível montar um quadro do pensamento do autor sob

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8

Penney, Diane Holloway. "Schoenberg's Janus-Work Erwartung: Its Musico-Dramatic Structure and Relationship to the Melodrama and Lied Traditions." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330712/.

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Arnold Schoenberg's atonal monodrama, Erwartune. Op. 17 (1909). has been viewed as an unanalyzable athematic aberration, without any discernible form. Recognizing Erwartune's forward-looking aspect, this dissertation also explores the melodrama and the Lied, a connection with the past which forges a new understanding of its form and structure.

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9

Conlon, Colleen Marie. "The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9855/.

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Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with ana

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10

Dudeque, Norton E. "Music theory and analysis in the writings of Arnold Schoenberg (1874-1951)." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394424.

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11

Hahn, Chun-Fang Bettina. "Schoenberg and Bakhtin : dialogic discourse in the String quartet, op. 10, no. 2 /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162238.

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Thesis (Ph. D.)--Indiana University, 2004.<br>Computer printout. Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0021. Chair: Marianne C. Kielian-Gilbert. Includes bibliographical references (leaves 242-254), abstract, and vita.

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12

Kim, Sohee. "The Study of the Relationship between Arnold Schoenberg and Wassily Kandinsky During Schoenberg's Expressionist Period." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269203770.

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13

Russell, Jennifer J. "Music-text relations in the Keller songs of Wolf and Schoenberg /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1196406521&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 162-165). Also available for download via the World Wide Web; free to University of Oregon users.

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14

Strovas, Scott M. "Musical Aesthetics and Creative Identification in Two Harmonielehren by John Adams and Arnold Schoenberg." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/46.

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The music of John Adams (b. 1947) exemplifies a reinvestment in traditional instrumental genres and musical values that began to take place in contemporary music in the late 1970s and early '80s. His Harmonielehre for orchestra (1984-85) meets many of the conditions of the symphonic genre, including its scoring for full orchestral forces, its multi-movement structure, its presentation of contrary, dialectical melodic gestures, and its dramatic thematic and harmonic conflict. It is thus ironic that Adams would title his composition after a treatise written by Arnold Schoenberg, a figure whose b

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15

Halton, Jonathan David. "Structural functions of the pedal-point and ostinato in Arnold Schoenberg's music, 1899-1913." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313677.

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16

Brown, Julie. "Schoenberg's 'Das Buch Der Hangenden Garten' : analytical, cultural and ideological perspectives." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307704.

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17

Stearns, Michelle L. "Unity, God and music : Arnold Schoenberg's philosophy of compositional unity in trinitarian perspective." Thesis, St Andrews, 2007. http://hdl.handle.net/10023/405.

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18

Magalhaes, Luis Miguel de Araujo, and Arnold 1874-1951 Verklärte Nacht arr Schoenberg. "Arnold Schönberg's Verklärte Nacht [music] : transcription for two pianos." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/52692.

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Thesis (M. Mus.) -- University of Stellenbosch, 2002.<br>Full text to be digitised and attached to bibliographic record.<br>ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The tr

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19

Henson, Blake Ross. "Structural Analysis Through Ordered Harmony Transformations in the Early Works of Arnold Schoenberg." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274721477.

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20

Feilotter, Melanie. "Schoenberg, Pappenheim, and the expression of solitude in Erwartung, op.17." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23331.

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Schoenberg's monodrama Erwartung, op.17 (1909), appeared at the dawn of early Expressionism, a movement which profoundly affected the composer's early works. This movement dealt in part with the alienation and isolation of the self in what many artists considered a corrupt and degenerate society. The first part of this thesis examines the possible influences of the Expressionist and Symbolist traditions on Erwartung's text and, to a lesser extent, the early history of psychoanalysis, of which librettist Marie Pappenheim was certainly aware. The impact of the changes made by Schoenberg to Pappe

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21

Elder, Rusty Dale Budds Michael J. "The late choral works of Igor Stravinsky a reception history /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/5625.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on September 22, 2009). Thesis advisor: Dr. Michael Budds. Includes bibliographical references.

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22

Sun, Ai-Kuang. "A Critical Study of Arnold Schoenberg's Chamber Transcription of Gustav Mahler's Das Lied von der Erde." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5597/.

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Toward the end of his life, from 1908 to 1909, Gustav Mahler (1860-1911) composed Das Lied von der Erde (The song of the earth). This piece is a cycle of six song movements based on seven poems selected from Die chinesische Flötem - Nachdichtungen chinesischer Lyrik (The Chinese flute - free adaptation of Chinese lyric poetry) by Hans Bethge. The Chinese verse was written by Li-Po (numbers 1, 3, 4 and 5), Tchang-Tsi (number 2), and Mong-Kao-Jen and Wang-Wei (combined in number 6). Subsequently, in 1921, Arnold Schoenberg reduced the work to a simple chamber version transcription from Mahler

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23

Ramopoulou, Lorenda. "La musique pour piano solo de Nikos Skalkottas." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040017.

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Ce travail est une étude sur le style et les références présentes dans l’œuvre pour piano solo de Nikos Skalkottas (1904-1949). Il (ré)intègre pour la première fois le compositeur dans le milieu des pianistes qu’il a connu pendant ses années berlinoises (1921-1933), en inscrivant l’œuvre dans son contexte et l’ensemble des références auxquelles elle renvoie. Une méthodologie analytique émerge de ces mises en relation, destinée à faciliter le travail de l’interprète et à révéler les composantes stylistiques du corpus. Une importance particulière est portée sur le raffinement du timbre des piani

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24

Poignant, Eleonora. "Jag vet inte hur jag ska börja... : Instudering av modernistisk konstmusik med utgångspunkt i Arnold Schönbergs Pierrot Lunaire." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4039.

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Ämnet för denna kandidatuppsats är Arnold Schönbergs verk Pierrot Lunaire. Det komponerades under sommaren 1912 och är än idag ett av de mest fascinerande modernistiska verk som finns, ofta framfört och ständigt aktuellt. Jag har i uppsatsen, förutom att ha gett en redogörelse för uppkomsten av Pierrot Lunaire och dess betydelse, undersökt min egen inlärningsprocess när jag som sångerska instuderat fyra satser ur verket, och utifrån resultatet dragit slutsatser om hur den här typen av musik bäst instuderas. Syftet med studien var alltså en utforskning av olika metoder för i

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25

Vannatta, Paul Edward Brahms Johannes. "A comparative study of Schoenberg's orchestration of Brahms' Piano Quartet, Op. 25 /." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187283483.

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26

Ivanova, Velia. "Twelve-Tone Identity: Adorno Reading Schoenberg through Kant." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24338.

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Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno finds radical musical creation but also a reversion to formulaic composition in its reception by Richard Hill among others. In both Kant and Schoenberg, Adorno identifies a tripartite movement: (1) A radical work (philosophical or musical) is created by a member of bourgeois society. (2) The work adopts

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27

Collisson, Stephen J. "Grundgestalt : developing variation and motivic processes in the music of Arnold Schoenberg : an analytical study of the string quartets." Thesis, Online version, 1994. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296129.

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28

Wright, James K. "Schoenberg, Wittgenstein, and the Vienna circle : epistemological meta-themes in harmonic theory, aesthetics, and logical positivism." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38438.

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This study examines the relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein (the Tractatus Logico-Philosophicus, in particular), and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, th

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29

Jeffery, Christopher. "Serial meaning : a semiotic/narratological analysis of Arnold Schoenberg's Third string quartet, first movement." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50448.

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Thesis<br>ENGLISH ABSTRACT: The aim of this study is to contribute to the investigation of the methods in which serial technique expresses meaning in the first movement of Arnold Schoenberg's Third Quartet, Op.30. It aims to add to the debate concerning Schoenberg's use of conventional formsparticularly sonata form-in his serial music, by investigating how he manipulates the row to playa narrative function, seemingly in opposition to its homogeneous nature. The analytical section consists of a semiotic analysis based on the work of Jean- Jacques Nattiez. It incorporates a narratologica

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30

Saunders, Matthew Charles. "The Symphony for Band of Donald E. McGinnis: A guide for conductors." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1179924320.

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Thesis (D.M.A.)--Ohio State University, 2007.<br>Title from first page of PDF file. Appendix B (p. 103) includes embedded audio file. Appendix C (p. 104) refers to accompanying PDF files. Includes bibliographical references (p. 105-107).

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31

Tannenbaum, Peter M. S. "Schoenberg's theories on the evolution of music applied to three works by Alban Berg." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66139.

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32

Wadsworth, Benjamin K. "Dialectical opposition in fin-de-siècle music : a model of balance applied to melodic motives, harmonic context, and their interaction /." Digitized version, 2008. http://hdl.handle.net/1802/7669.

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Thesis (Ph. D)--University of Rochester, 2008.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7669

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33

Musca, Lisa Ann. "The piano fragment and the decomposing of the musical subject from the Romantic to the postmodern." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459906541&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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34

Kim, Youngkyong Kim Youngkyong. "Volume I. Reconciliation a study of words and music in Schoenberg's Pierrot lunaire, Stravinsky's Symphony of psalms and Requiem canticles, and Britten's War requiem ; Volume II. Eo-meo-ni = (Mother) (o̳-mo̳-ni) : for medium voice and string orchestra /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512491&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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35

Maia, Igor Leão 1988. "Klangfarbenmelodie : orquestração do timbre." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284507.

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Orientador: Silvio Ferraz Mello Filho<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T20:57:07Z (GMT). No. of bitstreams: 1 Maia_IgorLeao_M.pdf: 10512597 bytes, checksum: 0ed3339e1e7b7ccc0d76bdb59d3cfeaa (MD5) Previous issue date: 2013<br>Resumo: A presente dissertação de Mestrado teve como objetivo estudar o modelo de organização de timbres, Klangfarbenmelodie, proposto pelo compositor alemão Arnold Schoenberg em 1911, quando da publicação de seu livro Harmonielehre e aplicar, de maneira livre, alguns resultados des

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McConnell, Sarah E. "Developing Variation and Melodic Contour Analysis: A New Look at the Music of Max Reger." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248493/.

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Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these ob

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Hines, Jane. "Reinventing Tradition: Brahms, Progress, and Basso Ostinato." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1399942904.

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HSIEH, CHENG-FENG. "Beyond Traditional Perspective: The Solo Piano Waltz in the Twentieth Century." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1208829080.

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McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoen

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Vickery, Lindsay Ross. "Exploring new and emerging models for nonlinear performative works." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/63499/1/Lindsay_Vickery_Thesis.pdf.

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This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century. Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear str

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Shapiro, Roseline. "From the ladder to the mountain : Arnold Schoenberg's religious odyssey." Thesis, 1998. http://hdl.handle.net/10413/8899.

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The study traces Arnold Schoenberg's spiritual journey as he moves from his oratorio Die Jakobsleiter, through his nonmusical drama Der biblische Weg to the opera Moses und Aron. These works span the years from approximately 1915 to 1933, the period which coincides not only with Schoenberg's religious shift from Lutheranism to Judaism but also with the appearance of his early dodecaphonic works. It is argued that the works of this period, the religious shift and his conception of twelve-tone serialism are all deeply and inextricably connected. This study, with support from Schoenberg's writing

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42

Che, Yen-Chiang, and 車炎江. "Arnold Schoenberg''s Aesthetics of Music and Its Practice in Vocal Works." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/72mc7e.

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博士<br>國立臺北藝術大學<br>音樂學系博士班<br>99<br>Arnold Schoenberg (1874-1951) was a composer of “Gedanke” in his monumental aesthetics of music; thus, this dissertation aimed to discuss exterior and interior linkages between his aesthetics of music and the practice in vocal music. The first part of this dissertation sorted out Schoenberg’s aesthetics of music and arts, especially on his “poetics of music,” inheritage of German music tradition, and the parallelism between his music and the modern art, the coordination and dialectics of which established his inner world of logics and became his foundation of

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Eichler, Jeremy Adam. "The Emancipation of Memory: Arnold Schoenberg and the Creation of 'A Survivor from Warsaw'." Thesis, 2015. https://doi.org/10.7916/D8SB44TJ.

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This is a study of the ways in which the past is inscribed in sound. It is also an examination of the role of concert music in the invention of cultural memory in the wake of the Second World War. And finally, it is a study of the creation and early American reception of A Survivor from Warsaw, a cantata written in 1947 that became the first major musical memorial to the Holocaust. It remains uniquely significant and controversial within the larger oeuvre of its composer, Arnold Schoenberg (1874-1951). Historians interested in the chronologies and modalities of Holocaust memory have ten

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Dennis, Christopher J. "Adorno's Philosophy of modern music /." 1992. http://collections.mun.ca/u?/theses2,24439.

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"Modernism and Misogyny in Arnold Schoenberg's Das Buch der hängenden Gärten, Opus 15." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15943.

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abstract: Arnold Schoenberg's 1908-09 song cycle, Das Buch der hängenden Gärten [The Book of the Hanging Gardens], opus 15, represents one of his most decisive early steps into the realm of musical modernism. In the midst of personal and artistic crises, Schoenberg set texts by Stefan George in a style he called "pantonality," and described his composition as radically new. Though stylistically progressive, however, Schoenberg's musical achievement had certain ideologically conservative roots: the composer numbered among turn-of-the-century Viennese artists and thinkers whose opposition to the

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Killian-O'Callaghan, Danae. "Unveiling the melodic interval: a phenomenology of the musical element in human consciousness." 2005. http://repository.unimelb.edu.au/10187/1670.

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This phenomenology begins with an observation of a musical instrument, the piano. The piano is surrounded by an aura of lifelessness, for its sound world is dominated by tone-decay and a calcified intonation system. Therefore, a physically seamless legato rendering of melody is impossible for pianists, and the inflexible symmetry of given intervallic relations enforces a loss of tonal centre when a composer ventures into the intrinsically asymmetrical domain of chromaticism. However, the melodic interval - the element lying between the acoustically sounding pitches - is in essence always inaud

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47

Songer, Loralee S. "A performer’s guide to selected solo vocal works of the Second Viennese School with a complete catalog." 2010. http://liblink.bsu.edu/uhtbin/catkey/1629111.

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This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, i

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48

Liao, Willis Weishan, and 廖唯善. "“Developing Variation” in Musical Context: Evidence from The First Movement of Piano Quartet No.3, Op. 60 by Johannes Brahms and The First Piece of Five Pieces for Orchestra, Op. 16 by Arnold Schoenberg / Music Compositions by Willis Weishan Liao." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/42500660833886612472.

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碩士<br>東吳大學<br>音樂學系<br>99<br>“Developing variation” is a concept coined by Austrian composer Arnold Schoenberg (1874-1951), in which the needed materials throughout a musical composition are provided by constantly varying the initial intervallic motive. However, Schoenberg not only provided some scattered discourses on developing variation, but also did not clarify his definitions of several related terms, such as gestalt, grundgestalt and motive. This thesis intends to concretize the meaning of developing variation by citing Schoenberg’s own writings and paraphrasing other theorists’ ideas. By

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