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

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

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)"

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Calico, Joy H. "Old-Age Style: The Case of Arnold Schoenberg (1874–1951)." New German Critique 42, no. 2 125 (August 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 (March 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 et l’amène à composer à nouveau. Si son courage lui permet de suivre ses propres inclinations et de ne pas céder dessus, la position d’Arnold Schoenberg face à ce qui le pousse à composer comporte aussi un versant mystique, messianique. Sa musique lui est inspirée par Dieu et devient une lutte. Il semble nécessaire que ses compositions conservent une part d’énigme pour le public et les critiques afin qu’Arnold Schoenberg évite un sentiment de persécution et continue à créer.
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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 (December 17, 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 Arnold Schoenberg (1874-1951), a quem ela homenageou em seu Quinteto Schoenberg. Através de análise musical, mostraremos, entre outros procedimentos, como a compositora utilizou na serie inicial de sua obra o hexacorde inversionalmente simétrico catalogado por Allen Forte como 6-20, usado por Schoenberg em seu quinteto Ode to Napoleon Buonaparte Op. 41. Paralelamente, a musicista inseriu melodias de inspiração folclórica nacional, a fim de dar à composição um caráter humanista e crítico do período em que foi criada.
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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 (September 17, 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 (May 19, 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 writer, was born in Czernowitz to assimilated German-speaking parents, survived the Holocaust and emigrated to Israel in 1946. My claim is that in their works both composer and author testify to traumatic experiences that avoid verbal representation by: (1) subverting and transgressing conventional aesthetic means and (2) alluding to sacred tropes and theological concepts. In exploring Schoenberg’s opera Moses und Aron and Appelfeld’s Journey into Winter among others, this article shows how the transcendent sphere returns within the musical and poetic avant-garde (musical prose, 12-tone composition, prose poem, non-semantic or semiotic fiction) as a “sound” of old traditions that can only be heard through the voices of a new Jewish culture.
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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-politique. Ainsi, juif et d origine modeste, shcoenberg est en quete d une assimilation a la bourgeoisie viennoise, elitiste et apolitique. Le deuxieme quatuor participe d une telle strategie, mais, en meme temps, l aneantit : il est rejete par le public - a dominante bourgeoise -, car celui-ci percoit sa profonde portee critique. Ainsi, cette etude considere le deuxieme quatuor de schonberg comme un systeme de signification qui instaure des structures imaginaires propres et soumet a la societe des hypotheses sensibles originales. Elle vise, plus generalement, a inserer une oeuvre emblematique dans un ensemble complexe de mutations a la fois musicales et socio-politiques.
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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.
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, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.
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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 analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.
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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 Pappenheim's original text, as well as some of his elusive stage directions are given consideration. The composer and librettist created a text which effectively obscures the boundaries between the protagonist's conscious and unconscious thoughts, hence confusing the audience's perception of perception of reality and illusion.
Schoenberg parallels this dramatic disjunction in his music, as is discussed in the second part of the paper. Certain representational moments (for example, pitch cells and ostinati) are presented; the musical context of these moments is radically changed in subsequent appearances, preventing them from being audibly recognizable, and from retaining a stable meaning. This discussion refutes earlier analyses of Erwartung which stress so-called motivic and thematic connections. Several illustrative moments in Scene IV are highlighted. Although on a local level, certain musical connections exist, what remains most disturbing and thus most effective in Erwartung is how the separateness of these 'climactic' moments gives the work its disjunct and temporally unpredictable quality.
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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, theoretical conventionalism, word-to-world correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist-relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that was very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and forward-looking stream in early twentieth century intellectual history.
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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 seulement descriptive, dont la cohérence et la portée peuvent être révélés par une étude compréhensive des quelques manuscrits – rarement explorés et jamais édités en langue française – où se réunissent les observations d’un compositeur soucieux de déterminer les lois d’une pensée « purement musicale ».À l’époque de la Première Guerre Mondiale, toute une décennie durant laquelle se joue pour Schoenberg un retournement à la fois esthétique et idéologique, les bouleversements historico-culturels accompagnent la révélation de la nature problématique d’une relation de sons pour « qui attend mieux de la musique qu’un peu de douceur et de beauté ». Car en effet, si les premières oeuvres atonales avaient été vécues comme une libération, comme une émancipation vis-à-vis de contraintes imposées de l’extérieur et constituant autant d’entraves à un idéal d’expression, bien vite se fit jour la question de la com-position, de sa possibilité logique. En ce sens, si le retrait de la tonalité a pu se justifier comme l’aboutissement d’un processus historique, il s’est révélé a posteriori n’être que l’acte inaugural indispensable d’une véritable pensée critique en musique, celle qui entreprend d’accorder l’art des sons aux principes et limites de la raison humaine. L’emploi schoenbergien de l’idée musicale révèle alors une pensée universelle de la relation musicale – tonale ou non –, développée selon une stricte analogie avec les formes discursives de la connaissance en général. Loin de ne refléter alorsqu’un système compositionnel personnel ou la technique spécifique d’une école, celle-ci déborde largement du champ musical. Par ce qu’elles impliquent logiquement au sujet de l’unité, de la représentation ou encore du temps, les réponses suggérées par le compositeur manifestent une profonde affinité avec une modernité critique qui interroge le penser au temps de la crise de l’idéalisme
Many of the writings of the Viennese composer Arnold Schoenberg deal with an ambivalent concept of musical idea [musikalische Gedanke] whose occurrences seem problematic in many ways. It may indeed relate to the entire work as well to a simple part of its form, but it can also be a possible object of nature whose historical form is itself contingent. However, beyond its common use coming from the technical terminology of the nineteenth century, the musical idea is clearly driven here by a decidedly reflexive approach, neither purely prescriptive nor only descriptive, whose scope and consistency can be exposed through a comprehensive study of the few manuscripts – seldom investigated and never published in French – where are gathered the observations of a composer concerned about the laws of a “purely musical” thought. At the time of the First World War, a decade during which occurs for Schoenberg an aesthetical and ideological reversal, historico-cultural changes accompany the revelation of the problematic nature of a relation of sounds for who “expects better from music than some kind of sweetness and beauty.” Indeed, if early atonal works had been experienced as a liberation, an emancipation from external constraints, obstacles to an ideal of expression, promptly emerged the issues of com-position, of its logical possibility. In this sense, if the withdrawal of tonality may have been justified as result of a historical process, it has been only the opening act of an authentic critical thought in music, one that undertakes to square the art of sounds to theprinciples and limits of human reason. Schoenberg’s use of the musical ideal then reveals a universal thought of the musical relationship – tonal or not –, developed according to a strict analogy with the discursive forms of conceptual knowledge. But far from reflecting only a personal compositional system or the specific technic of a School, it goes far beyond the musical field. Through what they imply logically about unity, representation, time, the answers suggested by the composer show a deep affinity with a critical modernity, one questioning the thinking at the time of the crisis of idealism
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Books on the topic "Schoenberg, Arnold (1874-1951)"

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

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1885-1958, Stein Erwin, ed. Arnold Schoenberg letters. Berkeley: 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]. Venezia: Marsilio, 1996.

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

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

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

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

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

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

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

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

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Manning, David. "Arnold Schoenberg (1874–1951)." In Vaughan Williams on Music, 173. 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, 651–60. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-051.

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"Arnold Schoenberg (1874–1951)." In Accompanied Voices, 123. 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, 119–42. 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, 160–83. 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, 1–11. 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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