Relevant bibliographies by topics / Schoenberg, Arnold (1874-1951)

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  1. Journal articles
  2. Dissertations / Theses
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Academic literature on the topic 'Schoenberg, Arnold (1874-1951)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Schoenberg, Arnold (1874-1951)"

1

Calico, Joy H. "Old-Age Style: The Case of Arnold Schoenberg (1874–1951)." New German Critique 42, no. 2 125 (2015): 65–80. http://dx.doi.org/10.1215/0094033x-2889260.

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Guillen, Anne-Sophie. "Le mystère de la création éclairé par le compositeur Arnold Schoenberg (1874-1951)." Revista Latinoamericana de Psicopatologia Fundamental 23, no. 1 (2020): 121–34. http://dx.doi.org/10.1590/1415-4714.2020v23n1p121.8.

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Le compositeur Arnold Schoenberg nous enseigne sur ce qui l’a poussé à renouveler les lois de la composition musicale de son époque, malgré les railleries et les critiques. A partir des écrits qu’il nous a laissés, nous avons pu repérer un vide essentiel pour le compositeur que sa musique lui permet de traiter sans le combler. Le chemin qui le mène jusqu’à l’invention de son système atonal suit une trajectoire similaire à celle de la pulsion: une force intérieure sourd en lui et le pousse dans cette direction, pour autant elle ne trouve jamais complète satisfaction. La tension renaît très vite
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Candido, Marisa Milan, and Eliana Monteiro da Silva. "Eunice Katunda e seu Quinteto Schoenberg: uma homenagem ao criador do dodecafonismo." Revista Música 21, no. 2 (2021): 287–314. http://dx.doi.org/10.11606/rm.v21i2.191266.

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Eunice Katunda (1915–1990) foi uma importante musicista brasileira do século XX. Viveu e atuou de maneira intensa no campo musical por quase todo o século, realizando atividades como pianista, compositora, regente, pesquisadora, professora, crítica, entre outros. Foi responsável tanto pela estreia e difusão de inúmeras obras brasileiras e estrangeiras desconhecidas no meio musical de sua época, como pela criação de peças a partir de modernas técnicas de composição. Neste artigo trataremos do uso feito pela compositora da técnica dodecafônica criada pelo compositor austríaco-estadunidense Arnol
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Guillen, Anne-Sophie, and Sidi Askofaré. "Élever l’impuissance à l’impossible : l’acte de création du compositeur Arnold Schoenberg (1874-1951)." Cliniques méditerranéennes 97, no. 1 (2018): 135. http://dx.doi.org/10.3917/cm.097.0135.

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Simms, B. R. "Music Theory and Analysis in the Writings of Arnold Schoenberg (1874 1951). By Norton Dudeque." Music and Letters 88, no. 4 (2007): 692–95. http://dx.doi.org/10.1093/ml/gcm012.

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Ben-Horin, Michal. "The Sound of the Unsayable: Jewish Secular Culture in Arnold Schönberg and Aharon Appelfeld." Religions 10, no. 5 (2019): 334. http://dx.doi.org/10.3390/rel10050334.

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This article examines the use of central elements of the Jewish religious repertoire and transcendental realm, such as prophecy or revelation, within the aesthetic secular realm of musical avant-garde and modern Hebrew literature. By focusing on two case studies, I attempt to shed new light on the question of Jewish secular culture. Arnold Schoenberg (1874–1951), an Austrian Jewish composer, was born into an assimilated Viennese family and converted to Protestantism before returning to Judaism in the 1930s while escaping to the United States. Aharon Appelfeld (1932–2018), an Israeli Jewish wri
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Heneghan, Áine. "Norton Dudeque, Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951) (2005)." Journal of the Society for Musicology in Ireland, May 5, 2008, 159–64. http://dx.doi.org/10.35561/jsmi030711.

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Dissertations / Theses on the topic "Schoenberg, Arnold (1874-1951)"

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Hauer, Christian. "Le Deuxième Quatuor à cordes op. 10 avec voix d'Arnold Schönberg (1907-1908), : ouLa quête d'une identité autre : une convergence de crises musicale, spirituelles et socio-politiques." Aix-Marseille 1, 1994. http://www.theses.fr/1994AIX10025.

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Le deuxieme quatuor op. 10 de schoenberg est une oeuvre de mutation. En elle eclate une crise d identite, qui atteint son paroxysme a la fin de l annee 1907 - alles ist hin|, tout est perdu|: en particulier gustav mahler et la tonalite - ,mais c est d elle, aussi, que jaillit une trajectoire spirituelle et musicale - le processus de l entruckung - qui, impulsee par les textes de stefan george et nourrie par la foi en dieu, vise a instaurer une identite forte, stable et inattaquable. L entruckte est un genie : inspire par dieu, il se situe aussi, par sa nature meme, au-dessus de la melee socio-
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Schmidt, Christian Martin. "Schönbergs Oper : Moses und Aron : Analyse der diastematischen, formalen und musikdramatischen Komposition /." Mainz ; London ; New York : Schott, 1988. http://catalogue.bnf.fr/ark:/12148/cb35029928h.

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Kerridge, Patricia A. "Grundgestalt and developing variation : Arnold Schoenberg's Verkläte Nacht." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65492.

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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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Kim, Kyŏng-ŭn. "The harmonic language of Arnold Schoenberg's second string quartet op. 10 /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59283.

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Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works.<br>This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, in
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Gallard, Jean Claude. "Le dernier Schoenberg : synthèse et dépassement." Paris 8, 2005. http://www.theses.fr/2005PA082595.

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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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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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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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Kerdiles, Dimitri. "Vers une pensée critique de la relation : Arnold Schoenberg et l’idée musicale." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20012/document.

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Parmi les écrits du compositeur viennois Arnold Schoenberg, nombreuses sont les occurrences d’un concept d’idée musicale [musikalische Gedanke] dont l’emploi polysémique paraît problématique à bien des égards. Celui-ci peut en effet se rapporter à l’oeuvre entière aussi bien qu’à une simple partie de sa forme, mais encore n’être qu’un objet possible de la nature dont la forme historique est elle-même contingente. Or, au-delà d’un usage commun issu de la terminologie formaliste du XIXe siècle, l’idée musicale est manifestement portée ici par une démarche réflexive, ni résolument prescriptive ni
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Books on the topic "Schoenberg, Arnold (1874-1951)"

1

Rosen, Charles. Arnold Schoenberg. University of Chicago Press, 1996.

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1885-1958, Stein Erwin, ed. Arnold Schoenberg letters. University of California Press, 1987.

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1932-, Nono Nuria Schoenberg, and Schoenberg Lawrence A, eds. Arnold Schoenberg: 1874-1951 : [una Mostra interattiva multimediale]. Marsilio, 1996.

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MacDonald, Malcolm. Schoenberg. 2nd ed. Oxford University Press, 2008.

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Malcolm, MacDonald. Schoenberg. 2nd ed. Oxford University Press, 2008.

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Malcolm, MacDonald. Schoenberg. 2nd ed. Oxford University Press, 2008.

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Walter, Frisch. The early works of Arnold Schoenberg, 1893-1908. University of California Press, 1993.

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Inc, NetLibrary, ed. The early works of Arnold Schoenberg, 1893-1908. University of California Press, 1997.

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Dahlhaus, Carl. Schoenberg and the new music: Essays. Cambridge University Press, 1987.

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Dahlhaus, Carl. Schoenberg and the new music: Essays / by Carl Dahlhaus. Cambridge University Press, 1990.

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Book chapters on the topic "Schoenberg, Arnold (1874-1951)"

1

Manning, David. "Arnold Schoenberg (1874–1951)." In Vaughan Williams on Music. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195182392.003.0035.

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"Arnold Schoenberg (1874–1951)." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-051.

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"Arnold Schoenberg (1874–1951)." In Accompanied Voices. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-056.

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Whittall, Arnold. "Arnold Schoenberg." In Music since the First World War. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198165330.003.0007.

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Abstract On 7th December 1917, slightly less than two months after his forty third birthday, Arnold Schoenberg (1874–1951) was finally discharged from the Austrian Army. His first period of military service had lasted from December 1915 until October 1916 and this second short spell had begun in September 1917. The disruption to his creative work was considerable.
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Whittall, Arnold. "Arnold Schoenberg." In Musical Composition in the Twentieth Century. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166849.003.0008.

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Abstract On 7 December 1917, slightly less than two months after his forty-third birthday, Arnold Schoenberg (1874–1951) was finally discharged from the Austrian Army. His first period of military service had lasted from December 1915 until October 1916 and this second short spell had begun in September 1917. The disruption to his creative work was considerable. He was able to write the fourth of the Orchestral Songs Op. 22, in July 1916 (Nos. 1–3 had been composed while he was still in Berlin, between October 1913 and January 1915), but his main project during the war was the oratorio, Die Jakobsleiter. He completed the first draft of the text as early as January 1915 and began the music of Part One in June 1917, only to be interrupted by the second call-up three months later. Although he returned to the score as soon as his final discharge came through, and continued to work on it until 1922, the work was never finished. But for the wartime interruptions, the oratorio might stand–complete–as the most mighty and absorbing of transitional works. Certainly there is an element of tragedy in the picture of a genius at the height of his powers forced to let a major composition languish while providing a potboiler like ‘The Iron Brigade’, the march for piano quintet which Schoenberg wrote for a ‘festive evening’ at his army camp in 1916. From his early years as an orchestrator of other men’s operettas to his late years as a university teacher in America, Schoenberg suffered from the supreme frustration: the regular necessity to set his own work aside and perform other tasks in order to support his family. The sympathy for, and efforts on behalf of, other composers in a similar plight which his letters reveal are therefore as understandable as his often extreme irritation and impatience with bureaucracy and officialdom in all forms. For Schoenberg, in life as in music, inflexible systems were anathema.
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Schiller, David M. "Introduction." In Bloch, Schoenberg, and Bernstein. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167112.003.0001.

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Abstract The title of this book contains not one, but two, oxymorons. The contradiction between ‘Jewish’ and ‘music’ was Richard Wagner’s anti-Semitic invention; the contradiction between ‘assimilating’ and ‘Jewish’, already present in Judaism itself, was reaffirmed in the Zionist response to European anti-Semitism. Ernest Bloch (1880-1959), Arnold Schoenberg (1874-1951), and Leonard Bernstein (1918-90) did not resolve these contradictions, but in their creative responses to the paradox of assimilating Jewish music, they redefined them. In Bloch’s Sacred Service (1933), Schoenberg’s A Survivor from Warsaw (1947), and Bernstein’s third symphony, Kaddish (1963), assimilating Jewish music becomes audible.
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