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1
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.
2
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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3
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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4
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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5
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, 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.
6
Gallard, Jean Claude. "Le dernier Schoenberg : synthèse et dépassement." Paris 8, 2005. http://www.theses.fr/2005PA082595.
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7
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.
8
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.<br>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.
9
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.
10
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<br>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
11
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.
12
Ly, Maria Joaquina Alves Dias Cardoso. "A estética expressionista na obra Pierrot Lunaire de Arnold Schoenberg: contributos para uma interpretação." Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/4561.
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Mestrado em Música<br>O trabalho aqui exposto, a partir de uma reflexão sobre as linhas gerais do
expressionismo alemão nos seus vários domínios, procura indagar acerca das
influências expressionistas na obra Pierrot Lunaire de Arnold Schoenberg, com
vista a uma melhor compreensão da obra em questão e visando uma
interpretação da obra que as referencie.
A estrutura do texto apresenta-se em duas partes, sendo a primeira uma
exposição do movimento expressionista nos vários domínios artísticos, desde
a sua génese até ao seu declínio.
A segunda incide fundamentalmente na obra Pierrot Lunaire, nos vários
elementos que lhe são subjacentes e relevantes para a interpretação
apresentada (gravação em DVD – Anexo I).
Conhecer o compositor e a obra Pierrot Lunaire numa perspectiva
interpretativa, foi o propósito desta investigação que poderá ser uma
plataforma para outras discussões ou outros estudos mais aprofundados.<br>This work is a reflection upon German Expressionism in general and in specific,
and its influence upon the work Pierrot Lunaire of Arnold Schoenberg.
The text is organised in two parts. The first is an introduction to the
Expressionistic Movement across a number of artistic domains from its earliest
days to its decline.
The second part focuses upon the work Pierrot Lunaire and all the underlying
elements relevant to the presented performance (recorded on DVD and
available as Annex I).
To know better the composer and the work Pierrot Lunaire in a performance
perspective was the purpose of this study, so it may be a basis to other
discussions or deeper studies.
13
Saillard, Corinne. "Figures et renouveau du mélodrame au vingtième siècle." Paris 8, 2004. http://www.theses.fr/2004PA082414.
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Qu’est-ce qui pousse les compositeurs à écrire pour la voix parlée ? Si en 1912 la Sprechstimme expressionniste du Pierrot lunaire d’Arnold Schœnberg détourne la voix du chant lyrique traditionnel, une voix parlée plus virulente encore sera jusqu’en 1951 la médiatrice de l’engagement spirituel et politique du compositeur. En ce sens, elle rejoint la parole enfouie et morcellée d’Helmut Lachenmann qui, pour faire réagir l’auditeur, lui impose un effort constant de reconstruction sémantique. Le rapport à la langue est délibérément plus jouissif chez W. Walton (Façade, 1922) ou W. Vogel (Worte, 1962) et trouvera dans les années 80 une résonance intimiste chez G. Kurtág ou Gérard Pesson. Enfin, à la recherche de ces voix montreuses d’images, Michèle Reverdy revisite le conte en musique interrogeant cette pulsion narrative présente dans l’écriture de Pascal Quignard ou J. L. Borges. Une invitation au récit qui, chez J. Schöllhorn, S. Sciarrino, G. Battistelli ou M. Jarrell s’entend comme "action invisible", théâtre intériorisé par la musique et les mots, tandis que la particularité du "mélodrame concret" de Michel Chion est de mettre en scène non un narrateur ou un lecteur, mais un personnage parlant et vivant au présent<br>What drives composers to write for the speaking voice ? If in 1912 Arnold Schœnberg’s expressionisitic speaking voice in Pierrot lunaire diverts the traditional lyrical song, a stronger speaking voice will, up until 1951, be the symbol of the spiritual and political commitment of the composer. In so doing the speaking voice resembles the hidden and fragmentary speech of Helmut Lachenmann, who, to make it react, inflicts on his audience a constant effort of semantic reconstruction. W. Walton’s (Façade, 1922) and W. Vogel’s (Worte, 1962) use of langage is much more joyful and will find a more intimate echo in G. Kurtág’s and Gerard Pesson’s works. Finally, experimenting on these images – laden voices, Michèle Reverdy turns tales into music focusing on the narrative drive of the text in Pascal Quignard’s and J. L. Borges works. For J. Schöllhorn, S. Sciarrino, G. Battistelli or M. Jarrell the emphasis on story telling whas limited to the task of showing "invisible action" through the medium of speech and Music in a piece of internalized theater, while the concrete Melodrama of Michel Chion hinges upon the presence not of a narrator or a reader, but of a true caracter leaving in the present time and speaking in the present tense
14
Schönnenbeck, Eva Christiane. "La question de la polyphonie dans les œuvres de la libre atonalité d’Arnold Schoenberg." Paris 8, 2010. http://www.theses.fr/2010PA083810.
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Notre questionnement de la polyphonie dans les œuvres de la libre atonalité d'Arnold Schoenberg nous permet d'explorer les diverses formes et implications de la multiplicité des voix dans l'esthétique de ce compositeur viennois du début du XXe siècle. Tantôt discipline d'écriture rigoureuse constituant un lien avec le passé (sous la forme du contrepoint), tantôt agencement des voix selon des principes nouveaux voire libre, la polyphonie (catégorie fondamentale de la tradition occidentale) semble receler un potentiel de renouvellement du langage musical. La manière dont Schoenberg emploie la polyphonie dans des œuvres marquées par l'abandon de la tonalité nous mène en effet à penser que la polyphonie joue un rôle particulier quant à sa recherche de composer sans se référer aux principes d'organisation du système tonal, mais sans non plus abandonner la richesse de l'héritage de la tradition musicale. Nous questionnerons la polyphonie en tenant compte de son caractère kaléidoscopique, qui nous semble essentiel. Par conséquent, nous aborderons des thématiques diverses dont l'enseignement de Schoenberg, l'héritage qu'il recueille chez Bach, le passage de la tonalité à la libre atonalité, les questions liées à l'interprétation, l'empilement des diverses strates de la composition ainsi que la question du langage et de la prose musicale. L'analyse de plusieurs œuvres (opus 9,16, 17, 18 et 21, les "Trois pièces pour ensemble de chambre" de 1910 et la transcription d'une œuvre de Bach) nous permet d'observer de quelle manière la polyphonie anime les œuvres de Schoenberg de l'intérieur<br>Our questioning of the polyphony in the works of Arnold Schoenberg's free atonality allows us to investigate the various forms and implications of the multiplicity of voices in the aesthetics of this Viennese composer of the beginning of the XXth century. Sometimes discipline of rigorous composing establishing a link with past (under the shape of the counterpoint), sometimes organization of the voices according to new, even free principles, the polyphony fundamental category of the western tradition seems to contain a potential of renewal of the musical language. The way Schoenberg employs the polyphony on works marked by the abandonment of tonal music indeed leads us to think that the polyphony plays a particular role as for its research to compose without referring to the principles of organization of the tonal system, but without giving up either the wealth of the inheritance of the musical tradition. We shall question the polyphony by taking into account its kaleidoscopic character, which seems essential to us. We shall approach diverse themes among which the teaching of Schoenberg, the inheritance that he collects at Bach, the passage of the tonality to the free atonality, the questions bound to the performance, the diverse strata of the composition as well as the question of the language and the musical prose. The analysis of several works (opus 9, 16, 17, 18 and 21, the Three pieces for chamber orchestra of 1910 and a transcription of Bach) shall allow us to observe the implications of the polyphony in the aesthetics of Schoenberg
15
Giroux, François. "Paradoxes de l'énergie dans la pensée musicale de Schoenberg : le chemin renversé de la composition." Toulouse 2, 2007. http://www.theses.fr/2007TOU20082.
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Rencontrer l'oeuvre de Schoenberg signifie, aujourd'hui encore, se confronter à l'intense accumulation d'énergie de sa polyphonie et à la densité de sa pensée théorique. La présente étude fait apparaître un faisceau de paradoxes, pour aborder des oeuvres dont l'excès d'énergie est destiné à s'opposer à l'épuisement du matériau musical, à un moment de l'histoire où la privation de « centre » s'étend des mots aux sons, et finit par gagner tout l'humain. Face à ce que Schoenberg a perçu comme une déréliction, la démesure des tensions inhérentes à sa musique engendre des contradictions croisées ; l'oeuvre provoque alors l'étonnement : sitôt composée, elle devient un objet d'auto-herméneutique. À de multiples reprises, Schoenberg a cherché à établir patiemment les postulats de la cohérence (Zusammenhang), en laissant apparaître le processus de génération de ses idées. Cette étude commence par établir le concept de Zusammenhang pour, ensuite, le retrouver dans trois oeuvres de périodes radicalement différentes : le premier Quatuor op. 7, l'op. 11 pour piano et le Trio à cordes op. 45. Sont alors analysés les îlots, césures, fenêtres ouvrant sur des points d'orgue qui rassemblent l'instant, le noyau de leur énergie, l'immobile foyer de tout mouvement, trace du combat mené par l'oeuvre pour briser l'orientation univoque du flux temporel, pourtant condition de son existence. Au creux de la composition de Schoenberg réside une forte charge utopique, qui montre le double contenu – fini et infini – de l'oeuvre, inscrivant l'obligation, pour l'auditeur, de s'engager à rebours, dans le chemin renversé qui conduit de l'écoute immédiate vers les intuitions précompositionnelles du musicien<br>Considering the works of Schoenberg today still signifies a confrontation with the intense accumulation of his polyphonic energy and with the density of his theoretical ideas. The present study shows up an array of paradoxes, through works whose excessive energy is designed to oppose the exhaustion of musical material, at a moment of history which had become uncentred, stretching from words to sounds and finally to the whole humanity. In the face of what Schoenberg saw as dereliction, the excess of inherent tensions in his music generates crossed-contradictions. His works provoke astonishment, even of Schoenberg himself who didn't hide his feelings. No sooner written, a composition becomes an “auto-hermeneutic object”. Schoenberg has patiently tried to establish the premise of coherence (Zusammennhang) as shows through in the generative process of his ideas. This study begins by defining the concept of Zusammenhang in order, then, to find it in three works from radically different periods : the First Quartet op. 7, the Three Pieces op. 11 for piano and the String Trio op. 45. We see the same struggle in all these works, between the unequivocal temporal flux (an essential part of the works existence), and the work's desire to fight against time through musical breaks and “islands”, which allow us to see the epicentre of their energy. Underlying Schoenberg's composition resides a strong utopic charge, which shows the double nature – finished and infinite – of his works. This obliges the listener to take the reverse path which leads from the moment of listening back to the pre-compositional intuitions of the composer
16
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 transcriber cannot imagine how the composer would have
done a similar transcription, but the intentions of the composer in the original version
can be interpreted and transferred in a stylistically acceptable manner. At all times the
possibilities of the instruments should be taken into consideration.
Given the complex sound texture of the original version, the suggestions for a twopiano
version have to incorporate the following: note length and rest length, sound
colour, attack/articulation, bowing, articulation markings, effects and texture. In the
assignment an explanation is given of the deviations that stem from the above factors.
The awareness of these deviations necessitates a distinction between arrangement and
transcription and compels the transcriber to be as faithful to the original score as
possible. The explanation of deviations further provides the performer with an
awareness of the artistic possibilities that the work provides.<br>AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n
gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se
vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die
tweeklavier-literatuur.
Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in
die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n
klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die
bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op
'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die
instrumente moet ook te alle tye in ag geneem word.
Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe,
fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende
aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings,
effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook
verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n
onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die
transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die
verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die
artistieke moontlikhede van die werk.
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Freitas, Philippe Curimbaba [UNESP]. "Antinomia e expressão: Adorno ante o sismógrafo de Erwartung Op. 17 de Schoenberg." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/95168.
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freitas_pc_me_ia.pdf: 2176444 bytes, checksum: c58f824a87aa6b15377e1bcc8b342164 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Este trabalho é uma abordagem analítica do monodrama Erwartung Op. 17 – obra do expressionismo musical composta por Schoenberg a partir do texto de Marie Pappenheim – que parte das reflexões estéticas de Theodor Adorno sobre a obra e sobre o expressionismo em geral, principalmente em sua Filosofia da Nova Música. O primeiro capítulo aborda os dois conceitos de expressão que caracterizam, na ótica de Adorno, a música anterior ao expressionismo: a expressão como simulação de paixões e a expressão como organização total da forma. Cada uma delas resultou, não obstante, em um bloqueio da expressão, decorrente da hipóstase quer seja do princípio formal abstrato, quer seja dos momentos particulares isolados do todo. Este bloqueio expressivo é desenvolvido no segundo capítulo, que aborda a dinâmica através da qual, num contexto de comercialização e fetichização da cultura, a música tende a forjar uma aparente reconciliação entre a parte e o todo, entre o universal e o singular. A música expressionista realiza uma crítica dessa aparência de conciliação e dá lugar ao singular não mediatizado pela forma. Toma, como conteúdo, os gestos orgânicos, os conteúdos anímicos não mediatizados pelo conceito e pela forma e estabelece o registro documental de gestos orgânicos como procedimento formal. Em virtude do seu princípio expressivo, Erwartung se assemelha a um sismograma, que registra os abalos sísmicos. No entanto, o resultado dessa negação dos esquemas formais – tanto temático-motívicos como harmônicos – não é um simples abandono da forma em detrimento do conteúdo, mas um novo tipo de relação entre forma e conteúdo, que é desenvolvido no último capítulo, dedicado à análise musical<br>This research is an analytical approach of the monodrama Erwartung Op. 17 – work from the musical expressionism composed by Schoenberg from Marie Pappenheim’s text – which starts from Adorno’s aesthetic reflections about the work and the expressionism as a whole, mainly in his Philosophy of New Music. The first chapter approaches the two concepts of expression that characterizes, in Adorno’s view, music before the expressionism: the expression as simulation of affections and the expression as total organization of form. However, each one of these ways of expression resulted in a blockade of expression, due to hypostasis either of abstract formal principle, or of individual moments separated from the whole. This expressive blockade is developed in chapter two, which approaches the dynamics whereby, in contexts of commercialization and fetishization of culture, music trends to forge an apparent reconciliation of the part and the whole, of universal and singular. Expressionist music accomplishes a critic of this appearance of reconciliation and conveys the form nonmediated singularity. It takes, as content, organic gestures, spiritual contents non-mediated through concept and form and establishes documentary record of organic gestures as formal procedure. Due to its expressive principle, Erwartung resembles a seismogram, which records the seismic events. However, as a result of this denial of formal schemas – either thematic-motivic or harmonic – we don’t see a mere refusal of form over content, but a new kind of relation of form and content, which is developed in last chapter, dedicated to musical analysis
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Aleman, Anca. "Recherches sur la pensée musicale de Glenn Gould : l’empreinte de l’héritage schoenbergien." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040123.
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Cette thèse se propose de démontrer que, au-delà de son image d’interprète de la musique de Jean-Sébastien Bach, le pianiste Glenn Gould a développé, à travers ses nombreux écrits, une véritable pensée musicologique, qui surprend par sa cohérence et dont les racines sont à chercher en réalité du côté d’Arnold Schoenberg, le compositeur qui l’aura le plus influencé. Nous nous attachons donc ici à l’observation et à l’analyse de cette pensée à travers les écrits du musicien canadien, l’objectif étant la mise en évidence du rapport existant avec la pensée de Schoenberg. L’analyse comparative menée ici repose sur les principes que Gould avait lui-même placés au fondement de sa pensée : le raisonnement justifiable, l’esprit de re-création, le concept inductif et la musicologie scientifique. Pour ce faire, nous avons adopté un cheminement logique passant successivement par les domaines suivants : méthode, création musicale, interprétation, critique, pédagogie et enregistrement<br>This research tends to demonstrate that, beyond the picture of the performer of Johann Sebastian Bach’s music, Glenn Gould, the pianist, has developed through his numerous writings a real musicological thought which is distinguished by a strong coherence ; its roots are in fact to be found in Arnold Schoenberg’s thought, the composer whose influence was the most important for Gould. We intend here to propose an analytical and critical observation of Glenn Gould’s musicological thought by using the principles upon which he had himself set his thought, which are : justified reasoning, re-creation spirit, inductive concept and scientific musicology. With that aim, we used a logical progression examining successively the following themes : the method, the musical creation, the musical performance, the criticism, the pedagogy and finally the recording
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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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Tual, François-Gildas. "La pensée sérielle, théâtre social et nouvelles dramaturgies." Paris 4, 2003. http://www.theses.fr/2002PA040128.
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En replaçant le sérialisme dans son contexte culturel et social et en comparant ses différentes utilisations au sein de la musique, de la littérature et des arts plastiques, le présent ouvrage présente son évolution au cours des années 1950 et 1960, et révèle comment, en tant que système, elle est devenue un mode de pensée singulier, lieu privilégié d'expression des structures communautaires, de l'engagement individuel et de la résistance aux les ordres établis. Confronté à l'impossibilité de donner de la série une définition unique et exhaustive, l'auteur a choisi de s'interroger sur les contradictions même de la méthode schoenbergienne, pour déterminer la façon dont elle a permis à l'opéra de renouveler le choix de ses sujets et l'ensemble des principes dramatiques<br>By replacing the series in its cultural and social context and by comparing its different use in music, literature and plastic arts, this work presents its evolution from the 1950's to the 1960's. It also shows how, as a system, it has become a singular way of thinking, a privileged place for expressing community structures, individual commitment and resistance against all kinds of establishments. The author, unable to give a complete and satisfactory definition of the series, would rather focus on the very contradictions of Schoenberg's method, and see how it allowed opera to renew its subjects as well as its whole drama principles
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Deroo, Jean-François. "L'opéra Moses und Aron d'Arnold Schönberg : une mise en scène de l'irreprésentable." Paris 8, 1999. http://www.theses.fr/1999PA081926.
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Le compositeur viennois Arnold Schönberg (1874-1951) compose son opéra Moses und Aron entre 1930 et 1932. Le thème principal du livret, écrit par le compositeur, est tiré du livre de la Bible (Livre de l'Exode). Il met en scène la confrontation entre Moi͏̈se et son frère Aron. Il ne s'agit donc pas d'une mise en musique conforme au texte primitif, mais d'une réinterprétation qui se construit sur la trame du mythe mosai͏̈que dans le but de développer des pre��occupations plus contemporaines. Pour le choix de son sujet, Schönberg est marqué par des influences littéraires, philosophiques et artistiques. Parmi les écrivains auxquels il accorde une place prépondérante, on trouve Richard Dehmel, August Strinberg, Balzac. Au plan artistique, la relation avec Wassily Kandinsky permet à Schönberg de trouver un écho à ses propres préoccupations. L'essai du peintre Du spirituel dans l'art aura sur Schönberg un impact certain. L'architecte Adolph Loos saura également convaincre le musicien à sa doctrine du renoncement à tout moyen décoratif. . .
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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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Ducombs, Anne-Sophie. "Acte de création et acte psychanalytique : traversée de l'oeuvre du compositeur Arnold Schoenberg." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20044/document.
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La passe est le dispositif inventé par Lacan pour tenter de saisir et d’éclairer l’émergence du désir de l’analyste. Ce moment électif, où le psychanalysant passe au psychanalyste, Lacan le nomme acte analytique. En 1971, Lacan nous fait une proposition pour le moins surprenante : grâce à son art, l’écrivain James Joyce en serait arrivé au même point que l’analysant en fin de cure. La passe déborde-t-elle la situation analytique et concerne-t-elle la création artistique ? Dès lors, peut-on penser qu’il existe un lien entre acte de création et acte analytique ?Afin de montrer en quoi l’acte de création du compositeur A. Schoenberg est concerné par les enjeux de la passe, nous avons choisi d’extraire trois points cruciaux : le rapport au savoir, la cause du désir et le symptôme. Les écrits d’A. Schoenberg nous permettent d’avancer que son acte de création présente des similitudes avec ce qu’on peut attendre d’un analysant ayant accompli la passe. Il témoigne d’une mutation dans son rapport au savoir nécessaire à l’invention d’un système compositionnel inédit. C’est en suivant une nécessité intérieure (cause du désir), qu’il parvient à révolutionner les lois de la composition. La musique d’A. Schoenberg se présente comme un savoir-y-faire avec le réel. Elle lui assure le fait qu’il ne peut être réduit au savoir ou à la jouissance de l’Autre (symptôme). A. Schoenberg n’est pas sans paradoxe. Il se construit une version mystique, messianique (métaphore délirante) de ce qui le pousse à la création. Sa musique lui permet de mettre à l’abri sa singularité, tout en ne faisant pas complètement voler en éclat le lien social<br>The Pass is the procedure invented by Jacques Lacan in an attempt to seize and understand how emerges the desire of the analyst.Lacan named Analytic Act the point at which the subject passes from the position of the analysand to the position of the analyst. In 1971, Lacan suggested a surprising proposal: thanks to his art, the writer James Joyce would have attained the same point as the analysand reaching the end of his analytic cure. Does the Pass extend beyond the analytic situation and could it be related to the artistic creation? Consequently, does it exist a link between the act of creation and the analytic act?In order to show in what way the act of creation of the composer A. Schoenberg maintains connections with the issues of the Pass, we chose to extract three crucial points: the relation to knowledge, the cause of the desire and the symptom.A. Schoenberg’s writings allow us to assert that his act of creation shares some similarities with what is awaited from the analysand going through the Pass. He there attests a change in his relation to the knowledge required to create an original compositional system. He succeeds in subverting the composition laws guided by an inner necessity (cause of desire). A. Schoenberg’s music presents itself as a handling mode of the real. It is for him a safe means not to be reduced to the Other’s knowledge or jouissance (symptom). A. Schoenberg is not without paradox. He builds a mystical and messianic version of what drives him to create (delirious metaphor). His music enables him to protect his singularity, without destroying the social link
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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 narratological analysis which infers from the semiotic data
that Schoenberg's "idea", which is associated with notions of unity, is brought towards
fulfilment through his narrativization of the row in the context of sonata form.<br>AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om by te dra tot die ondersoek na die metodes met behulp
waarvan seriële tegniek "betekenis" tot uitdrukking bring in Arnold Schoenberg se derde
strykkwartet, op. 30.
Dit poog om 'n bydrae te lewer tot die debat oor Schoenberg se gebruik van
konvensionele vorms-in besonder sonatevorm-in sy seriële musiek te ondersoek, deur
middel van manipulasies van die reeks in diens van 'n narratiewe funksie, oënskynlik in
teenstelling met die homogene aard van die reeks.
Die analitiese gedeelte van die studie bestaan uit 'n semiotiese analise gebaseer op die
werk van Jean-Jacques Nattiez. Hierby word ingesluit 'n narratologiese analise waarin vanuit
die semiotiese data afgelei word dat Schoenberg se "idee", wat geassosieer word met
opvattings van eenheid, tot 'n slotsom gebring word deur middel van sy narrativering van die
reeks in die konteks van sonatevorm.
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Fukuchi, Hidetoshi. "Begleitungsmusik zu einer Lichtspielszene, Op. 34 evidence of Arnold Schoenberg's musikalische Gedanke /." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4519/.
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Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic repetition." This analysis of Op. 34 demonstrates how the enlargement of a surface motive facilitates an understanding of the relation between the parts and the whole, which is perceived as the totality of Gedanke.
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Vasconcelos, Lúcia de Fátima Ramos 1980. ""Transcriação" : o processo de tradução da obra Pierrot Lunaire de Arnold Schoenberg por Augusto de Campos - uma análise a partir da ótica melopoética." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284474.
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Orientador: Adriana Giarola Kayama<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-24T07:10:27Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: Com o objetivo de prover material de pesquisa capaz de auxiliar futuros tradutores de obras vocais, o presente trabalho é um estudo interdisciplinar que reúne teóricos da linguística e da música, com o fim de delimitar e aprofundar, por meio de uma análise de caso, ferramentas que auxiliem o processo de tradução de obras vocais. Partindo do princípio que texto e a música são fenômenos sonoros indissociáveis, neste trabalho, recorremos à melopoética como fio condutor desse processo criativo. Diante de tal corrente de estudo que trabalha especificamente com as questões sonoras que permeiam letra e música, as ferramentas de trabalho que desenvolvemos possuem íntima relação com esses fenômenos. Métrica, acentuação rítmica, prosódia, rimas internas e externas e os processos de união e separação de palavras em música são os elementos que foram aqui aprofundados, em uma pesquisa quem sua essência, promove a intercomunicação entre a música e a linguística. A tese tem um capítulo introdutório, com um levantamento bibliográfico de autores clássicos e atuais da área de tradução, especificamente de tradução poética. Na introdução também é apresentada a linha de pensamento na qual iremos desenvolver nossa análise: a melopoética. As ferramentas que serão defendidas e utilizadas como parâmetro na análise de caso são expostas no primeiro capítulo, enquanto no segundo capítulo é desenvolvida a análise da obra Pierrot Lunaire de Arnold Schoenberg, traduzida por Augusto de Campos, com a participação da maestrina e cantora Edmar Ferreti, figura fundamental nesse processo de tradução<br>Abstract: With the aim of providing research material able to help future translators of vocal works, this paper is an interdisciplinary study that brings together theoretical linguistics and music, in order to define and develop, through a case analysis, tools to assist the translation process of vocal works. Starting from principle that text and music are inseparable sound phenomena, in this work we resort to the theory of melopoetics as the connecting line for this creative process. With this line of work that deals specifically with the issues that permeates music and text the tools we have chosen have close relation with these aspects. Metric, rhythmic accentuation, prosody, internal and external rhymes, and processes of union and separation of words in music, are the elements that have been discussed here, in a research that, in its core, promotes the intercommunication between music and language. The thesis has an introductory chapter, with a discussion of bibliography of current and classic authors in the area of translation, specifically poetic translation. Also included in the introduction is the line of thought in which we will develop our analysis: melopoetics. The tools that will be defended and used as a parameters in the analysis of the case study are stated in the first chapter, while the second chapter analyses Arnold Schoenberg's work Pierrot Lunaire, translated by Brazilian author Augusto de Campos, with the participation of the conductor and singer Edmar Ferreti, key figure in this translation process<br>Doutorado<br>Praticas Interpretativas<br>Doutora em Música
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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's original massive score for full orchestra, a version completed in 1983 by Rainer Riehn. While the main melodic material in the vocal parts was maintained, the orchestral parts underwent substantial changes. This dissertation explores Mahler's reconfiguration of textual material and the setting of these texts in the orchestral medium. After consulting the various textual editions, I establish misreading and translational differences from the original Chinese through its various Western European incarnations; how and why Mahler chose the Bethge edition; what influenced his specific selection of poetry; and how these poems inform one another and the work as a whole. I also explore the crucial role of instrumentation and orchestration in text setting, and how his instrumentation of these translated "exotic" texts stands in dialogue with the nineteenth-century tradition and emergent frames of nationality. This dissertation also focuses on Schoenberg's instrumentation, arrangement, and orchestration as re-conceptualized and restructured from Mahler's original six movements. While the dissertation synthesizes the views of various scholars, many original observations will be offered, as few articles substantively consider this transcription of one of the most revered and reviled composers of the late-nineteenth century by one of the most revered and reviled composers of the twentieth-century. The transcript version from Schoenberg and Riehn succeeds in that it not only maintains the original vocal melody and Chinese text, but also presents the key musical concepts and visions from Mahler's original fully orchestrated version with limited chamber instrumentation, economical re-composition, and a minimum of means.
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Viel, Nicolas. "Musique et néo-positivisme : trajectoires de la création musicale d'Arnold Schoenberg à Pierre Barbaud." Paris 4, 2007. http://www.theses.fr/2007PA040247.
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L’influence du néo-positivisme chez les compositeurs occidentaux du 20e siècle répond à la problématique de la continuité conceptuelle du modernisme musical. Né de l’esprit viennois, le néo-positivisme a influencé les deux inventeurs de la « musique de douze sons », Arnold Schoenberg et Joseph-Matthias Hauer. Le concept de « système de composition », pris à la lettre par les modernistes américains comme Charles Seeger et Henry Cowell, leur a permis de rompre avec la tradition musicale et esthétique européenne. Il a alors donné naissance à différents « systèmes » axiomatiques influencés par le néo-positivisme viennois, comme chez Joseph Schillinger ou dans les premières œuvres de John Cage. Le néo-positivisme, revenu en Europe par la cybernétique, la sociologie et la linguistique américaines, se retrouve, en musique dans le sérialisme de Pierre Boulez, le physicalisme de Iannis Xenakis, le positivisme instrumental de Luciano Berio, et la musique algorithmique de Pierre Barbaud<br>The influence of neo-positivism on 20th century western music composers answers the issue of conceptual continuity in music modernism. Born of the Viennese spirit, neo-positivism influenced the two inventors of «twelve-tone music », Arnold Schoenberg and Joseph-Matthias Hauer. The concept of « compositional system »which was taken literally by American modernists such as Charles Seeger and Henry Cowell, as allowed them to break with musical and aesthetic tradition in Europe. It then gave birth to different axiomatic « systems »influenced by Viennese neo-positivism, such as Joseph Schillinger’s composition system or such as what can be heard in John Cage’s first pieces. Neo-positivism returned to Europe via American cybernetics, sociology and linguistics to be vested again, in music, in Pierre Boulez’s serialism, in Iannis Xenakis physicalism, in Luciano Berio’s « instrumental positivism » and in Pierre Barbaud’s algorithmic music
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Trottier, Danick. "La querelle Schoenberg/Stravinski : histoire et prémisses d'une théorie des querelles au sein de l'avant garde musicale." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0136.
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Cette thèse est consacrée à l'un des axes incontournables de l’histoire de la musique du XXe siècle, soit la querelle entre Schoenberg et Stravinski. C'est au cours des années 1910 que Vienne et Paris élèvent respectivement Schoenberg et Stravinski à titre d'entités musicales et se livrent une lutte culturelle. Cette lutte prend un nouveau tournant avec les années 1920, alors que les deux avant-gardes offrent deux conceptions de la modernité musicale : le dodécaphonisme et le néoclassicisme, qui finissent par s'opposer à travers les figures de Schoenberg et de Stravinski. Si la querelle connaît un essoufflement durant les années 1930, elle devient l'objet d'une réactivation au cours des années 1940. Même après la mort de Schoenberg, elle continue de hanter les consciences musicales et force la génération sérielle à en tenir compte. Cette histoire croisée se présente comme l'exemple unique d'une avant-garde mise en opposition quant au destin de la musique moderne<br>This thesis is devoted to a fundamental main line of the history of twentieth century music, that is to say the quarrel between Schoenberg and Stravinsky. In the course of the second decade of the century Vienna and Paris respectively elevated these two composers to the status of musical entities, locking horns in a cultural struggle. This struggle took a new turn in the 1920s, when the two dominant avant-garde of the European musical scene offered two different conceptions of musical modernity, the dodecaphonic and the neoclassical, which ended up conflicting through the two compositional figure-heads. If the quarrel lost impetus during the 1930s, she is reactivated in the course of the 1940s. Even after Schoenberg’s death, she continued to haunt musical consciousness and forced the serial generation to take it into account. This crossed story is presented as the only example of a musical avant-garde subjected to opposition in regard to the destiny of modem music
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Massé, Isabelle. "Influence des modes d'émissions vocales extra-européens dans la musique contemporaine." Paris 4, 2000. http://www.theses.fr/2000PA040133.
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L'objet de cette recherche, basée sur un essai de rapprochement entre les modes d'émissions vocales extra-européens usités par les compositeurs contemporains et les pratiques vocales non européennes, est de déterminer jusqu'à quel point les compositeurs occidentaux ont été amenés à user de la voix dans un certain sens par l'écoute, la découverte de musiques non européennes. Ce travail comporte trois parties : le processus historique suivant lequel les occidentaux ont découvert les voix extra-européennes et les répercussions au fil des siècles sur la composition et sur les habitudes d'écoute ; comment, sous l'influence du monde extra-européen, les compositeurs se donnent la charge de remonter à la source de l'émission vocale et, dans un même élan, de rendre à la musique une fonction dans la société dans le sens d'un retour au rituel ; le "Sprechgesang" d'A. Schoenberg, une technique vocale remise au goût du jour par des compositeurs contemporains. Un catalogue de notations et divers entretiens sont également joints à ce travail<br>The object of this research, based on an attempt to etablish a link between extra-European modes of voice emissions used by contemporary writers and non-European vocal practices. .
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Kordelou, Angeliki. "Les quatuors à cordes de Nikos Skalkottas." Paris 4, 2007. http://www.theses.fr/2007PA040261.
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La présente Thèse de Doctorat propose une introduction biographique et une approche analytique des quatuors à cordes du compositeur grec Nikos Skalkottas (1904-1949). Débutant avec une étude biographique critique, elle présente le contexte socio-politique et les milieux artistiques, grecs et allemands, dans lesquels se cristallise l’esthétique de N. Skalkottas et s’inscrivent ses créativités créatrices. Ayant démontré les facteurs qui contribuent à la formation de son style musical, l’étude se concentre en priorité sur l’analyse des oeuvres pour quatuor à cordes du compositeur, afin de mettre en relief les procédés compositionnels élaborés par Skalkottas, dans le cadre de la tonalité élargie, de l’atonalité et du système dodécaphonique, tout en portant une attention particulière à d’autres aspects de sa démarche artistique (comme la forme, la construction harmonique, le rythme, la texture, le timbre). En outre, un des objectifs de la présente étude consiste à confronter l’approche de Skalkottas de l’atonalité et du système dodécaphonique avec l’esprit de la Seconde Ecole de Vienne, afin de mettre en évidence la spécificité de son langage musical ; il s’agit aussi d’évaluer la place et l’apport des pratiques musicales situées en dehors des traditions de la musique savante, dans les oeuvres du compositeur grec. Enfin, au terme de cette démonstration, on aboutit à une vision globale de l’oeuvre de Skalkottas permettant d’estimer la place du compositeur, dans le paysage musical de la première moitié du vingtième siècle<br>This study introduces to the life and the string quartets of the Greek composer Nikos Skalkottas (1904-1949). It comprises a critical biographical study of the composer and a brief presentation of the greek and german social-political and artistic environment in which he had been instructed and had lived as composer. However, the main thrust of the study is analytical and concerned with Skalkottas compositional procedures connected to atonality, twelve-note method and extended tonality. In addition to it, the study provides an examination of the treatment and adaptation of several compositional features (such as form, harmonic construction, rhythm, texture, timbre) within the context of his musical systems. Moreover, it demonstrates the particularities of his personal adaptation of those systems in relation to the context of the Second Viennese School and the influences issued from musical genres outside the occidental tradition. This study aims at a global appreciation and comprehension of his music
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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/.
Full textAbstract:
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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Maia, Igor Leão 1988. "Klangfarbenmelodie : orquestração do timbre." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284507.
Full textAbstract:
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
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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 desse estudo na organização timbrística em composição musical. Iniciamos o presente trabalho pelo estudo dos princípios norteadores dessa ideia e, de maneira breve, expomos o modelo científico conhecido na época para o estudo do timbre, proposto por Hermann von Helmholtz em 1863. Também examinamos a ideia de Klangfarbenmelodie através dos próprios escritos de Arnold Schoenberg e de outros autores, contextualizando nosso estudo dos pontos de vista histórico e científico. Em seguida, analisamos a obra Farben op. 16 n. 3, também de Arnold Schoenberg, com respeito a sua orquestração e organização formal, utilizando uma abordagem analítica baseada na Teoria Elementar dos Conjuntos. No último capítulo analisamos as composições de autoria própria à luz dos pressupostos trazidos pelo aspecto analítico desenvolvido durante a pesquisa<br>Abstract: This dissertation aimed to study the model of organization of timbres, Klangfarbenmelodie, proposed by the German composer Arnold Schoenberg in 1911 upon the publication of his book Harmonielehre and apply freely some results of this study of timbre organization in music composition. We begin by studying the guiding principles of this idea and briefly expose the scientific model known at the time for the study of timbre, presented by Hermann von Helmholtz in 1863. We also examine the idea of Klangfarbenmelodie through Schoeberg's own writings and other authors, contextualizing the research from a scientific and historical point of view. Then we analyze the work Farben op. 16 no. 3, also by Arnold Schoenberg, with respect to its orchestration and formal organization, using an analytical approach based on set theory. In the last chapter we analyze the compositions of authorship in the light of the assumptions brought by the analytical aspect of the research<br>Mestrado<br>Processos Criativos<br>Mestre em Música
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Lavest-Bonnard, Audrey. "Proposition pour une analyse de la création chez Schönberg et Picasso : musique, peinture, psychanalyse." Paris 4, 2008. http://www.theses.fr/2008PA040198.
Full textAbstract:
Cette thèse propose de mettre en comparaison musique et peinture à travers l'analyse de l'acte créateur chez Schönberg et Picasso. Nos hypothèses s'appuient sur la description des trois phases de la création par le psychologue Anton Ehrenzweig dans son ouvrage "L'ordre caché de l'art" et sur le fonctionnement du travail de rêve explicité dans "L'interprétation du rêve" de Sigmund Freud. Ainsi, nous comparons d'une part, l'évolution de la création de Schönberg et de Picasso - notamment les courants cubiste et dodécaphonique sériel - en fonction des quantités d'élaborations primaire et secondaire entrant en jeu dans les mécanismes psychiques de la création. D'autre part, nous montrons l'impact que ces processus primaires et secondaires peut avoir sur les matériaux choisis pour exprimer leur intentions artistiques, ces processus variant tout au long de l'existence créatrice. Les mécanismes du travail de rêve permettent d'apporter un nouvel éclairage sur l'organisation de la structure interne de l'œuvre d’art moderne, tout en contournant les tentatives controversées d'équivalence entre les arts<br>This thesis proposes to compare music and painting through an analysis of the creative act as expressed by Schönberg and Picasso. Our hypotheses are based on the description of the three phases of creativity by the psychologist Anton Ehrenzweig in his work The hidden order of art and on the functioning of the dream work as set forth in Sigmund Freud’s The interpretation of dreams. We thus first compare how Schönberg and Picasso's creativity evolved - notably the Cubist and serial dodecaphonic movements - according to the extent of the first and secondary elaborations coming into play in the creative psychic mechanisms. Secondly, we show the impact that these primary and secondary processes can have on the materials chosen to express their artistic intentions, these processes varying throughout the creative life. The dream work mechanisms allow new light to be shed on the organisation of the internal structure of works of modern art, while circumventing controversial attempts to establish equivalence between the arts
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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.
Full textAbstract:
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 writings, postulates that twelve tone
serialism, the technique with which the name of Schoenberg is associated, was not an
inevitable solution to the chromatic saturation of musical composition at the end of the
nineteenth century, but that it was shaped by the composer's spiritual needs and by the fact
that he lived in Europe during one of the most turbulent periods of her history.
The dissertation approaches the topic from the perspective of Schoenberg, the assimilated
Jewish artist in late-Romantic Vienna, who moves through various stages of eclectic religious
beliefs, arriving finally at an acceptance of the monotheistic concept of the Jewish God.
Various correspondences emerge between Schoenberg's religion and his music: the
artist/genius as prophet whose mission it is to elevate the people; the idea of progress and the
artist's obligation to create new art; the God Idea and prayer as it relates to the musical Idea
(the Gedanke) and ultimately the idea of One God, the Mosaic Law and the Twelve-tone
Row.<br>Thesis (Ph.D.)-University of Natal, Durban, 1998.
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Evdokimoff, Thomas William. "Fluctuating and suspended meter in selected passages from Arnold Schoenberg’s Das Buch der hangenden Garten, Opus 15." Thesis, 1997. http://hdl.handle.net/2429/6479.
Full textAbstract:
This thesis explores Arnold Schoenberg's use of meter in Das Buck
der hangenden Garten, Opus 15. The thesis works from the premise that
Schoenberg treats meter in a manner analogous to that usually associated
with pitch material: meter is motivic in nature, and can be subjected to
developmental techniques. The concepts of fluctuating meter and
suspended meter are developed, and used to describe the music; these
concepts are derived from an analogy with Schoenberg's own terms
schwebende Tonalitat and aufgehobene Tonalitat (fluctuating and
suspended tonality). Selected excerpts from the song cycle are analyzed.
The analyses focus on issues of meter, although some pitch analysis is used
to complement the discussion.
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Cavanagh, Lynn Marie. "Tonal multiplicity in Schoenberg’s first string quartet, op.7." Thesis, 1996. http://hdl.handle.net/2429/6276.
Full textAbstract:
This study describes the integration of harmonic idiom and tonal design in
Schoenberg's First Quartet, op. 7. Two general questions are answered:
whether the composition should be judged by common-practice-period norms, and
whether a coherent tonal structure is truly discernible.
Chapter 1 first surveys the existing literature. It then describes a prime
motivator of foreground chromaticism in the quartet—the chromatic surrounding
of tonic and dominant pitches—and discusses two features of large-scale pitch
organization applicable to Schoenberg's first-period music that contravene
common-practice-period norms: tonal structure consisting of a pattern of keys,
and systematic use of dual or even multiple tonics in place of monotonality.
Examples illustrate three types of graphic representation of tonal duality to be
used in the study.
The next four chapters describe tonal process within and across the four
"movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which
studies Part I, reveals systematic avoidance of V-I function in the opening key, D,
tonal rivalries between D and each of its two semitone-related keys, and the
beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on
Part II of the quartet, demonstrates continuation of the rivalry between tonics D
and Dt> by their use as competing secondary tonics within the Scherzo, and the
harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4,
on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the
furthering of the tonal plot in a section that engages in a "plagal" system of
tonality, and the beginning of a large chromatic surrounding of A. Chapter 5
shows that Part IV eschews a simple relationship between the A-major tonic of the
Rondo and the D-major tonic of the Coda by allowing the infiltration of elements
of the Db-major collection.
Chapter 6 summarizes the evidence contradicting a monotonal
understanding of the composition and reviews evidence that the demonstrated
multi-tonal coherence is part of the musical reality of the work.
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Yu, Pok Hon Wally. "Schoenberg's transition to atonality (1904-1908): the use of intervallic symmetry and the tonal-atonal relationship in Schoenberg's pre-atonal compositions." Thesis, 2005. http://hdl.handle.net/2152/2376.
Full text
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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 tended to overlook music’s role as a carrier of meaning about the past, while other media of commemoration have received far greater scrutiny, be they literary, cinematic, or architectural. And yet, A Survivor from Warsaw predated almost all of its sibling memorials, crystallizing and anticipating the range of aesthetic and ethical concerns that would define the study of postwar memory and representation for decades to come. It also constituted a uniquely personal memorial that may be read not only as a work of Holocaust art but also as a profoundly autobiographical document, one that sheds light on constellations of particularist identities often hidden beneath the “universalist” veil of one of the twentieth-century’s most iconic musical figures. Ultimately, this study seeks to articulate an under-examined linkage between modernism and memory, while arguing methodologically for the importance of sound in the contemporary practice of cultural history.
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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.
Full textAbstract:
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, in addition to commentary on representative vocal works supported by musical
examples. A significant part of this research includes interviews with renowned singers
who supply advice for practice and performance-related suggestions. In order for singers
and teachers to obtain essential information regarding these solo vocal works, a complete
catalog is provided.<br>Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research.<br>School of Music
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"Abstract conception versus concrete realization in twelve-tone music: uses of symmetry in Schoenberg's Moses und Aron and Webern's Symphony Op.21." 2012. http://library.cuhk.edu.hk/record=b5549043.
Full textAbstract:
此論文旨在探究對稱技巧在十二音創作概念與實踐之間的關係。前者抽象、後者具體。我先在第一章指出十二音系統内的對稱潛質，再在其後兩章分析對稱技巧在荀白克的《摩西與亞倫》及魏本的交響曲作品21第二樂章内的展現。荀白克“音樂意念及“發展變奏這兩個概念，在《摩西與亞倫》扮演着重要的角式，大大影響了作品内對稱的處理；而魏本對音樂的“一體性“及“可瞭解性“的堅持，亦決定了交響曲第二樂章中對稱的演譯。最後一章總括十二音作曲概念及實踐的關係，並展望日後的研究方向。<br>Through an analytical study of Schoenberg’s Moses und Aron and Webern’s Symphony Op.21, second movement, my thesis aims at exploring a central issue in interpreting symmetry in twelve-tone music: the relationship between abstract conception and concrete realization.<br>In Chapter one, I endeavour to contextualize the uses of symmetry in twelve-tone music within contemporary theoretical perspectives. After defining my methodology, subsequent chapters are analytical examinations of two pieces. Chapter two explores how Schoenberg’s uses of symmetry in the opening of Moses und Aron might be closely associated with his conception of “idea and “developing variation. Chapter three considers the ways in which the symmetrical manifestations in Webern’s variation movement demonstrate his concern for “unity and “comprehensibility. After studying the two composers’ different symmetrical treatments Chapter 4 revisits the relationship between abstract conception and concrete realization in twelve-tone composition, and suggests implications for further research.<br>Detailed summary in vernacular field only.<br>Liu, Man Yee.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts also in Chinese.<br>Abstract --- p.i<br>Abstract (Chinese) --- p.ii<br>Acknowledgements --- p.iii<br>List of Figures --- p.vi<br>List of Music Examples --- p.viii<br>Chapter Chapter 1 --- Abstract Conception versus Concrete Realization in Twelve-Tone Music --- p.1<br>The Twelve-Tone System and its Symmetrical Potentials --- p.5<br>Methodology, Selection of Pieces and Overview of Chapters --- p.8<br>Chapter Chapter 2 --- Schoenberg’s "Idea" and Twelve-Tone Symmetry --- p.11<br>Compositional Concerns<br>Row Design, Motive, Developing Variation and "Idea" --- p.14<br>Moses und Aron: The Idea of God and the Twelve-Tone System --- p.20<br>Pre-Compositional Plan<br>Schoenberg’s Divine Order --- p.28<br>Compositional Practice<br>Realization of Unimaginable God --- p.33<br>Realizations of Basic Set (P₉) and its Inversion (I₀) --- p.38<br>Implications: Manifestation of Divine Order --- p.44<br>First "Image": Musical Representation of the Row by Aron --- p.47<br>Second "Image": Musical Representation of God by Aron in the Golden Calf scene --- p.53<br>Schoenberg’s Allegory: Irreconcilability in Realizing "Idea" --- p.58<br>Chapter Chapter 3 --- Webern’s Variationen and Twelve-Tone Symmetry --- p.64<br>Compositional Concerns<br>Webern and Symmetry --- p.69<br>Analytical Perspectives on Symphony Op.21, Second movement --- p.70<br>Pre-Compositional Plan<br>Webern’s Statement on Symphony Op.21, Second movement --- p.73<br>Compositional Practice<br>Thema --- p.77<br>Variation I --- p.81<br>Variation II --- p.85<br>Variation III --- p.92<br>Variation IV --- p.96<br>Variation V --- p.101<br>Variation VI --- p.105<br>Variation VII --- p.107<br>Coda --- p.110<br>Summary --- p.112<br>Chapter Chapter 4 --- Epilogue --- p.115<br>Pre-Compositional Row Designs --- p.116<br>Presentations of Rows in Their Music --- p.116<br>Implications for Further Research --- p.119<br>Select Bibliography --- p.121