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Relevant bibliographies by topics / Survivor from Warsaw (Schoenberg, Arnold)

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Academic literature on the topic 'Survivor from Warsaw (Schoenberg, Arnold)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Survivor from Warsaw (Schoenberg, Arnold)"

1

Ahn, So-Yung. "Musical Exchange and Interaction between Eisler and Schoenberg, Evidenced by their Serial Music." Studia Musicologica 59, no. 1-2 (June 2018): 21–39. http://dx.doi.org/10.1556/6.2018.59.1-2.2.

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This study demonstrates that Hanns Eisler's serial music composed in the early 1920s and his cantatas created in the 1930s are interrelated with Arnold Schoenberg's serial music. The specific purpose is to reveal the musical interactions between the two composers, such as how Eisler was influenced by Schoenberg, and how Eisler himself influenced Schoenberg. The former aspect is highlighted by the analysis of Schoenberg's Suite für Klavier (1923) and Eisler's Zweite Sonate für Klavier (1925). The latter is shown while Eisler's Deutsche Symphonie from the 1930s and Schoenberg's A Survivor from Warsaw (1947) are subjected to a comparative analysis. Eisler was not simply a pupil who renounced Schoenberg's teachings, but a “true disciple” who succeeded Schoenberg's serial technique in a manner comparable to that of Webern and Berg and who, in addition, was a musical companion of Schoenberg, influencing Schoenberg's later music.

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2

Calico, Joy H. "Schoenberg's Symbolic Remigration: A Survivor from Warsaw in Postwar West Germany." Journal of Musicology 26, no. 1 (January 1, 2009): 17–43. http://dx.doi.org/10.1525/jm.2009.26.1.17.

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Abstract Musicologists have recently begun to study a crucial component in the reconstruction of European cultural life after World War II——the remigration of displaced musicians, either in person or (adopting Marita Krauss's notion of "remigrating ideas") in the form of their music. Because composers are most significantly present in the aural materiality of their music, and because Arnold Schoenberg's name was synonymous with modernism and its persecution across Europe, his symbolic postwar reappearance via performances of his music was a powerful and problematic form of remigration. The case of Schoenberg's A Survivor from Warsaw and the former Nazi music critic Hans Schnoor serves as a representative example. Schnoor derided Schoenberg and Survivor in a newspaper column in 1956 using the rhetoric of National Socialist journalism as part of his campaign against federal funding of musical modernism via radio and festivals. When radio journalist Fred Prieberg took him to task for this on the air, Schnoor sued for defamation. A series of lawsuits ensued in which issues of denazification and the occupying Allied forces put a distinctly West German spin on the universal postwar European themes of anti-Semitism, the Holocaust, remigration, and modernism.

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3

Painter, Karen. "Arnold Schoenberg’s A Survivor from Warsaw in Postwar Europe." Central Europe 14, no. 2 (July 2, 2016): 166–68. http://dx.doi.org/10.1080/14790963.2016.1357163.

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4

Lieberman, David Isadore. "Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe." Journal of Cold War Studies 23, no. 1 (2021): 254–56. http://dx.doi.org/10.1162/jcws_r_01003.

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5

Lavelina, Zhanna A. "Dynamic Form-Generation in Arnold Schoenberg’s Cantata “A Survivor from Warsaw”." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2015): 96–103. http://dx.doi.org/10.17674/1997-0854.2015.3.096-103.

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6

Potter, Pamela. "Arnold Schoenberg’s “A Survivor from Warsaw” in Postwar Europe by Joy H. Calico." German Studies Review 40, no. 1 (2017): 219–22. http://dx.doi.org/10.1353/gsr.2017.0033.

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7

Kimura, Amy Kazuye. "Arnold Schoenberg’s A Survivor from Warsaw in Postwar Europe by Joy H. Calico." Notes 72, no. 3 (2016): 563–65. http://dx.doi.org/10.1353/not.2016.0023.

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8

Feinstein, Margarete Myers. "Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe. By Joy H. Calico. Berkeley: University of California Press, 2014. Pp. xv + 254. Cloth $60.00. ISBN 978-0520281868." Central European History 48, no. 2 (June 2015): 275–76. http://dx.doi.org/10.1017/s0008938915000515.

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9

Antokoletz, Elliott. "A Survivor of the Vienna Schoenberg Circle: an Interview With Paul A. Pisk." Tempo, no. 154 (September 1985): 15–21. http://dx.doi.org/10.1017/s0040298200021458.

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The Passage of Time naturally removes us from first-hand personal experience with significant historical events and/or important persons that were part of those developments. Since the musical aesthetics and techniques of Arnold Schoenberg and his circle originated and began to develop in Vienna over 75 years ago, future students will have to rely on written rather than direct personal sources of information to gain insight into the music of that era. Our loss of primary contact with the Vienna Schoenberg circle is further complicated in that its members generally met and worked in intimate and esoteric situations. These conditions were in large part due to the conservative tastes of the Viennese public, so that new works in all the arts were generally not able to find public support.

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10

WLODARSKI, AMY LYNN. "““An Idea Can Never Perish””: Memory, the Musical Idea, and Schoenberg's A Survivor From Warsaw (1947)." Journal of Musicology 24, no. 4 (2007): 581–608. http://dx.doi.org/10.1525/jm.2007.24.4.581.

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This article explores the role of memory within Schoenberg's Gedanke Manuscripts and its musical encoding in A Survivor From Warsaw, his 1947 Holocaust cantata. In the Gedanke Manuscripts human memory serves as analogy for the connective processes that aid the listener in comprehending and identifying the musical idea. Schoenberg argues that a musical idea is recognized (erkennt), retained, and then re-recognized (wiedererkennt) by the listener in a process similar to that of memory. These comments form the basis for an analysis that demonstrates the patterning of Survivor's 12-tone rows according to such mnemonic principles. The encoding of memory in the narrator's testimony as well as in the musical structure suggests that memory functions as an overriding poetic idea that holds several implications for evaluations of the cantata's musical and religious significance within Schoenberg's corpus.

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Dissertations / Theses on the topic "Survivor from Warsaw (Schoenberg, Arnold)"

1

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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Books on the topic "Survivor from Warsaw (Schoenberg, Arnold)"

1

Calico, Joy H. Arnold Schoenberg's a Survivor from Warsaw in Postwar Europe. University of California Press, 2014.

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2

Arnold Schoenberg's A survivor from Warsaw in postwar Europe. University of California Press, 2014.

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3

Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe (California Studies in 20th-Century Music Book 17). University of California Press, 2014.

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Book chapters on the topic "Survivor from Warsaw (Schoenberg, Arnold)"

1

"Czechoslovakia: A Survivor as A Survivor from Warsaw." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 136–60. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520957701-009.

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2

"Austria: Homecoming via A Survivor from Warsaw." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 41–65. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520957701-005.

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3

"West Germany: Retrenchment versus A Survivor from Warsaw." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 20–40. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520957701-004.

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4

"Norway: Performing Remembrance with A Survivor from Warsaw." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 66–86. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520957701-006.

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5

"East Germany: Antifascism and A Survivor from Warsaw." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 87–111. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520957701-007.

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6

"Poland: Cultural Diplomacy through A Survivor from Warsaw." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 112–35. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520957701-008.

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7

Calico, Joy H. "Introduction." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 1–19. University of California Press, 2014. http://dx.doi.org/10.1525/california/9780520281868.003.0001.

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8

Calico, Joy H. "West Germany." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 20–40. University of California Press, 2014. http://dx.doi.org/10.1525/california/9780520281868.003.0002.

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9

Calico, Joy H. "Austria." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 41–65. University of California Press, 2014. http://dx.doi.org/10.1525/california/9780520281868.003.0003.

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10

Calico, Joy H. "Norway." In Arnold Schoenberg's A Survivor from Warsaw in Postwar Europe, 66–86. University of California Press, 2014. http://dx.doi.org/10.1525/california/9780520281868.003.0004.

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