No composer was more responsible for changes in the landscape of twentieth-century music than Arnold Schoenberg (1874-1951) and no other composer's music inspired a commensurate quantity and quality of technical description in the second half of the twentieth century. Yet there is still little understanding of the correlations between Schoenberg's musical thought and larger questions of cultural significance in and since his time: the formalistic descriptions of music theory do not generally engage larger questions in the history of ideas and scholars without understanding of the formidable musical technique are ill-equipped to understand the music with any profundity of thought. Schoenberg's Musical Imagination is intended to connect Schoenberg's music and critical writings to a larger world of ideas. While most technical studies of Schoenberg's music are limited to a single compositional period, this book traces changes in his attitudes as a composer and their impact on his ever-changing compositional style over the course of his remarkable career.
Schoenberg's Musical Imagination
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"...deserves recognition as one of the most important contributions to the analysis of Schoenberg's music in recent years." --Current Musicology
Book Description
Schoenberg's Musical Imagination is intended to connect Schoenberg's music and critical writings to a larger world of ideas. While most technical studies of Schoenberg's music are limited to a single compositional period, this book traces changes in his attitudes as a composer and their impact on his ever-changing compositional style over the course of his remarkable career.
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Inside This Book
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Key Phrases - Statistically Improbable Phrases (SIPs):
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hexachordal partition, combinatorial inversion, interval palindrome, original tactus, metric downbeat, texture simplified, covenant music, chromatic trichords, time shards, inversional balance, waltz fragments, principal theme group, catastrophic intrusion, golden calf scene, ongoing texture, augmented arpeggio, implicit voice, wedding bond, cantabile theme, speaking choir, third string quartet, uncanny time, piano ostinato, source row, upper woodwinds Key Phrases - Capitalized Phrases (CAPs): (learn more)
Viola Violoncello, Verklärte Nacht, Schoenberg's Pelleas, Divine Voice, First String Quartet, Auserwähltes Volk, Arnold Schoenberg, Belmont Music Publishers, Pacific Palisades, Second String Quartet, Third Quartet, David Lewin, Ninth Symphony, World War, First Episode, Franz Kafka, Gottes Thron, Harold Bloom, Mondes Strahlen, Act Liv, Don Giovanni, Great War, John Ashbery, Maurice Maeterlinck, Second Symphony New!
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Front Cover | Table of Contents | First Pages | Index | Surprise Me!
hexachordal partition, combinatorial inversion, interval palindrome, original tactus, metric downbeat, texture simplified, covenant music, chromatic trichords, time shards, inversional balance, waltz fragments, principal theme group, catastrophic intrusion, golden calf scene, ongoing texture, augmented arpeggio, implicit voice, wedding bond, cantabile theme, speaking choir, third string quartet, uncanny time, piano ostinato, source row, upper woodwinds Key Phrases - Capitalized Phrases (CAPs): (learn more)
Viola Violoncello, Verklärte Nacht, Schoenberg's Pelleas, Divine Voice, First String Quartet, Auserwähltes Volk, Arnold Schoenberg, Belmont Music Publishers, Pacific Palisades, Second String Quartet, Third Quartet, David Lewin, Ninth Symphony, World War, First Episode, Franz Kafka, Gottes Thron, Harold Bloom, Mondes Strahlen, Act Liv, Don Giovanni, Great War, John Ashbery, Maurice Maeterlinck, Second Symphony New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Books on Related Topics
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