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Topic: Schoenberg

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In the News (Wed 17 Jul 19)

  Arnold Schoenberg - Wikipedia, the free encyclopedia
Schoenberg's music had made a break from tonality, which greatly polarised responses to it: his followers and students saw him as one of the most important figures in music, while critics hated his work, on the whole.
Schoenberg was also a painter of considerable individuality, whose pictures were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky, and he wrote extensively: plays and poems, as well as essays not only about music but about politics and the social/historical situation of the Jewish people.
Schoenberg suffered from triskaidekaphobia (fear of the number thirteen); it is said that the reason his late opera is called Moses and Aron, rather than Moses and Aaron (the correct spelling with two As) is because the latter spelling has thirteen letters in it.
en.wikipedia.org /wiki/Schoenberg   (1897 words)

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Schoenberg's fascination with other worlds is explored, and atonality is cast as a technical solution to an aesthetic problem that runs throughout Schoenberg's music and thought: how to represent the spiritual essence of music.
Schoenberg overturned the vocabulary, from individual sounds to the schemas of the large forms, but he continued to speak the idiom and to strive for the kind of musical texture which is inseparably tied to the means he eliminated, not merely through common genesis but through its very meaning.
Schoenberg's turn to atonality constituted an attempt to manifest "otherworldliness" in music; atonality is a technical solution--or better, a series of individual technical solutions--to an aesthetic and philosophical problem with which Schoenberg continued to struggle throughout his career.
www.societymusictheory.org /mto/issues/mto.95.1.5/mto.95.1.5.covach.art   (5206 words)

 Sample Chapter for Frisch, W., ed.: Schoenberg and His World.
Since Schoenberg's brand of innovation as well as his Jewish identity became the focus of anti-Semitic right-wing politics early in the 1920s and later the object of Nazi persecution in the 1930s, the dissonances between the progressive in politics and the modernist in music were left unresolved.
Schoenberg and his notions of musical modernism were gradually detached from a plausible justifying political and historical logic locating them on the side of freedom and anti-fascism, and therefore of the angels.
Schoenberg and his disciples in the 1920s can be compared properly to the circle around the poet Stefan George, to whose work Schoenberg turned at a pivotal moment when the composer took a decisive step away from tonality.
pup.princeton.edu /chapters/s6697.html   (3577 words)

Schoenberg begins as a composer in the Wagnerian tradition, with a Wagnerian chromatic vocabulary, as can be heard in his first masterpiece, Verklärte Nacht (1899), originally for string sextet but later recast for string orchestra (1943).
Eventually Schoenberg would be composing music with no tonal center at all in which dissonances are not resolved because all notes are equally related.
The twelve-tone row in Schoenberg's music does not function as a theme or mode (as Berg tends to use it), "but as a set of materials, a complex of relationships, offering enormous possibilities to the ordered imagination that can master them" (Salzman 107).
www.wsu.edu /~delahoyd/20th/schoenberg.html   (1043 words)

 Essentials of Music - Composers
Schoenberg's development of the twelve-tone method of composition was a turning point in twentieth century music.
Schoenberg's early music was clearly marked by the style of the late nineteenth century, and influences of Brahms, Mahler and others can be seen in pieces such as his Verklärte Nacht.
The music of this period is also marked by a style that is referred to as expressionist, and Schoenberg had contact with, and a great deal of admiration for, the expressionist painters and writers (Schoenberg himself painted in an expressionist style).
www.essentialsofmusic.com /composer/schoenberg.html   (676 words)

 Why We're Still Afraid of Schoenberg
In the sung-spoken Pierrot Lunaire, Schoenberg produced tones as pastel-like as a Vassily Kandinsky canvas; the Serenade, opus 24, his first concerted serial work, is devoid of the shrieks and squeaks that disfigured inferior modernisms.
The Viennese hate to be reminded that Schoenberg is the only great composer, apart from Schubert, to have been born in their musical city.
Schoenberg was too principled a thinker to become a political leader.
www.scena.org /columns/lebrecht/010708-NL-Schoenberg.html   (1618 words)

 Twelve-tone music of Arnold Schoenberg   (Site not responding. Last check: 2007-11-07)
Schoenberg is an Austrian American composer who had a great revolutionary influence on twentieth century music by his abandonment of the traditional tone system for a twelve-tone, known in Europe as dodecaphony.
Schoenberg was born in Vienna on September 13, 1874.
Schoenberg’s own technique shows not only what freedom in the musical imagination possesses within the laws of this self-discovered and self-imposed order but also the actual use of the technique.
www.pcpros.net /~ntxawgl/music/12_tones_technique.htm   (1305 words)

 Schoenberg, Arnold on Encyclopedia.com   (Site not responding. Last check: 2007-11-07)
Arnold Schoenberg's atonal influence on new music appears to be waning.
The day music went mad; New evidence pinpoints the start of classical music's greatest revolution to the moment composer Arnold Schoenberg discovered his wife's infidelity.
For some, Arnold Schoenberg looms as the bogeyman of all that's wrong with modern music.
www.encyclopedia.com /html/S/Schoenbe.asp   (531 words)

 Greg Sandow -- Schoenberg retrospective review
Schoenberg himself suffered from them; when he wrote atonal music, he famously said, he felt like he was swimming in boiling water.
Schoenberg is talked about on one hand as if his music were totally abstract, just a collection of highly analyzable notes, and on the other hand as if it were just…well, nice, like something by Mozart, though obviously just a little more dissonant and complex.
Schoenberg was, in his younger days, a revolutionary; later on, when he developed the 12-tone method, he became something of a neo-classicist.
www.gregsandow.com /schoen.htm   (4166 words)

 Piano Forte News * Leonard Stein presents Schoenberg's music   (Site not responding. Last check: 2007-11-07)
They were published in 1894 and most likely, Schoenberg had obtained a copy and used this latest example of the "modern" style of Brahms as a model for his own composition.
Of course, Schoenberg objected to both aims and proclaimed that he had "invented" a new style of piano writing" in these compositions.
Schoenberg abandoned writing miniature pieces as soon as he realized its limitations for non-tonal music.
home.earthlink.net /~mahannon/Html/PF_stein50.html   (906 words)

 A. Schoenberg and M. Reger: Some Parallels
Schoenberg has a marvelous idea, to start next season another society, setting out to perform musical works from the period “Mahler to the present” once a week for its members;perhaps, should the work be a difficult one, to perform it more than once (Berg, Letters, 1971, 225).
Schoenberg considers such structures to pave the way for an unrestricted musical language, developmentally free—that is, paving the way for his ideal.
Schoenberg was also influenced by Wagner during his early period, while composing his programmatic works; later, when he devised the 12-tone method, Schoenberg was more interested in Bach and aspired to achieve the same virtuosity in polyphonic texture.
www.biu.ac.il /hu/mu/min-ad02/kreinin.html   (2589 words)

 Greg Sandow -- Schoenberg and Leon Botstein at the Bard Music Festival
Schoenberg’s pieces, Thomson also said, "do not lead independent lives," but instead are most convincing as embodiments of his compositional theories.
This fed my theory, which I offered here a year ago, that Schoenberg, working early in our troubled century, hoped to restore the collapsing Western musical tradition, and, knowing in his heart that this was impossible, in effect retreated into a private, world, where it’s sometimes hard to follow him.
Two big Schoenberg 12-tone works, the Piano Concerto and the Variations for Orchestra, emerged with a kind of rough vigor, though in places they got sloppy, and, because orchestral balance might not have been attended to, instrumental lines that Schoenberg wanted to be prominent were often buried.
www.gregsandow.com /bard.htm   (1437 words)

 Schoenberg’s Moses und Aron
Schoenberg’s lyrics stress the chosenness: "We are his chosen people before all peoples." Since the plagues and the dealings with Pharaoh are not important for the relationships with which he is concerned, Schoenberg leaves these items out of the libretto, expecting us to know the biblical story and fill them in ourselves.
Schoenberg calls up his artistry in order to supply us with an image of what took place around the Golden Calf, a pagan orgy for the stage whose grandiosity is such that this scene becomes the most "operatic" of the entire opera.
Schoenberg’s main point lies in the relationship between Moses and Aaron, and the question of which one of these two is better suited to leading the Jewish people to their ultimate goal.
humanities.uchicago.edu /journals/jsjournal/tugendhaft.html   (5771 words)

 The Sources of Schoenberg
Schoenberg is discussing Hauer's aesthetic position that the twelve-tone system is in fact a universe of its own that operates according to eternal cosmic principles.
Schoenberg's meaning can be distinguished from the use of that term in psychoanalysis generally by the fact that Schoenberg's unconscious does not so much consist of past experiences and innate drives as much as it provides a vision of reality reflected upon the inner consciousness.
Schoenberg's interest in Balzac's philosophical novels and the Swedenborgian ideas that arise in them is well known; Steiner's interpretations of Goethe's science were also well known within the well developed occult community in Vienna after 1900, and Schoenberg could have come to be familiar with them any number of ways.
www.ibiblio.org /johncovach/sources_of_schoenberg.htm   (6131 words)

 Amazon.ca: Books: Arnold Schoenberg's Journey   (Site not responding. Last check: 2007-11-07)
Shawn also examines Schoenberg's peculiar nonrelationship with Stravinsky the two great leaders of modern music virtually ignored each other for 40 years and notes the irony of the Russian's eventual conversion to the serialist persuasion.
Pianist and composer Shawn has written a series of linked essays that effectively demystify and humanize Schoenberg, generally considered to be one of the most challenging of all modern composers.
Schoenberg pioneered "atonal" music in the years right around 1910 parallel to Kandinsky's pioneering abstract painting, and in fact the two were friends and collaborators.
www.amazon.ca /exec/obidos/ASIN/0374105901   (686 words)

 SCETI: Lawrence J. Schoenberg Collection   (Site not responding. Last check: 2007-11-07)
The Lawrence J. Schoenberg Collection is a private library focusing on late medieval and early modern manuscripts.
Schoenberg is a Penn alumnus and current chair of the Library's Board of Overseers.
Schoenberg that will allow researchers to view virtual facsimiles of manuscripts from his collection.
dewey.library.upenn.edu /ceti/ljs/index.cfm   (155 words)

 Eric Schoenberg's Current Inventory List
Secondly, it has the Schoenberg cutaway (about which I'm also very biased); koa and spruce is a wonderful combination; and Fishman's new Ellipse pick-up system blends an internal microphone with an under-the-saddle pick-up with controls that are brilliantly mounted inside the soundhole instead of cutting a hole in the side.
Schoenberg Standard 000 Cutaway, 12-fret 000 body out of Indian rosewood and BC Engelmann (a hybrid of Engelmann and white spruce, has a stronger and punchier sound than Eng.) made by Robert Anderson.
Schoenberg Soloist 00 Cutaway, by Bruce Sexauer, of AAAA grade Brazilian rosewood and Carpathian spruce.
www.om28.com /stock.htm   (8499 words)

 Arnold Schoenberg: Composer, Bureaucrat   (Site not responding. Last check: 2007-11-07)
While many serialists, for whatever reason, try to claim that Schoenberg’s essays should not be taken seriously, there they are, and Schoenberg meant them to be seen.
The most startling innovation in these essays is Schoenberg’s schizophrenic claim that he developed serialism to make music more readily perceptible than it had been before he came along.
Thus, in Schoenberg, we have the prime bureaucratic model: Baffle the constituent with unmitigated twaddle while telling him it’s the clearest, sanest thing ever devised.
www.lewrockwell.com /edmonds/edmonds14.html   (584 words)

 Internet Public Library: Music History 102   (Site not responding. Last check: 2007-11-07)
In America, he anglicized his name to Schoenberg (this is the spelling by which he is best known), and spent his years teaching, first at USC, then at UCLA.
Berg was something of a musical dilettante when he began his studies with Schoenberg in 1903.
He had studied with Schoenberg from 1904-08 and produced the Passacaglia for orchestra in 1908.
ipl.si.umich.edu /div/mushist/twen/schoenberg.htm   (910 words)

 Arnold Schoenberg's Journey, by Allen ShawnNew York: Farrar, Straus and Giroux, 2002. pp.340   (Site not responding. Last check: 2007-11-07)
If nothing else, it is a heartfelt attempt to (re)introduce Schoenberg to the world, and Shawn makes a compelling case for simply sitting down and listening to the music before deciding to hate its too-modern, dissonant soundscapes.
In the end, Arnold Schoenberg's Journey is a very readable book, accessible to the musical amateur (though not, I suspect, to the reader who can't read music, as Shawn includes descriptive analysis using technical musical terms, and relies heavily on musical examples).
It is not a comprehensive portrait of Schoenberg, musically or biographically; rather, it seeks to introduce Schoenberg to the uninitiated, to contextualize the man and his music, to cast both in a more positive light.
www.discourses.ca /v3n3a4.html   (863 words)

 Arnold Schoenberg - The American Works   (Site not responding. Last check: 2007-11-07)
In 1933, shortly before his 60th birthday, Arnold Schoenberg, one of the most important composers in history, was forced to flee his native Europe due to the increasing Nazi terror.
The name Schoenberg is inextricably linked in most people's minds with serialism and The Second Viennese School.
They are "complex, free-wheeling elaborations of 18th-century source materials," Joseph Horowitz has written, "tonal yet reflecting...Schoenberg's 12-tone craftsmanship." Schoenberg's use of tonal materials in these works does not imply, however, that he had repudiated serialism or his revolutionary theoretical ideas; in them he merely transformed the triad's harmonic function and significance.
www.schirmer.com /composers/schoenberg_essay.html   (333 words)

 Schoenberg and the Occult
Schoenberg's knowledge of Goethe's scientific writings probably came to him through occult channels; in this regard it is important to note, as Severine Neff (forthcoming) has demonstrated, that Goethean science was central to Schoenberg's own music-theoretical formulations.
That Schoenberg could have believed that music has such a power is attributable to Schopenhauer's "metaphysics of music."[30] For Schopenhauer, only music is able to provide an unmediated perception of the "thing-in-itself," the Will.
Schoenberg's remarks are scatterred across many essays and fragments, some of which are still unpublished, and these writings span almost forty years' time.
www.ibiblio.org /johncovach/asoccult.htm   (6148 words)

 Frisch, W., ed.: Schoenberg and His World.
As the twentieth century draws to a close, Arnold Schoenberg (1874-1951) is being acknowledged as one of its most significant and multifaceted composers.
Schoenberg and His World explores the richness of his genius through commentary and documents.
The final portion of the volume, devoted to the theme Schoenberg and America, focuses on how the composer viewed--and was viewed by--the country where he spent his final eighteen years.
www.pupress.princeton.edu /titles/6697.html   (207 words)

 Welcome to Schoenberg Guitars!
We are two different enterprises based at 106 Main Street in Tiburon, California: our own line of top quality, tradition-based Schoenberg guitars, and the store in which they, along with examples of other top builders of today and yesterday, are bought, sold, repaired, taught and played.
Finally, the impact of the Schoenberg Soloists on the Martin Guitar Company (and, by their influence, on other makers such as Collings and Santa Cruz) cannot be underestimated.
We owe to the Schoenberg project the cutaway shape (which is now used on several Martin models), as well as the fact that Eric raised everyone's understanding of the 'value' of Martin's old guitars, which eventually became instrumental in inspiring our Golden Era and Vintage Series.
www.om28.com   (281 words)

 Amazon.com: Books: Arnold Schoenberg   (Site not responding. Last check: 2007-11-07)
i was especially pleased with the musical analysis of schoenberg's music that was presented here, which those who understand music can appreciate; such is left out of many musical biographies that i have read, and that is why i appreciate it here.
Whatever path serialism was to follow after Schoenberg, his own personal reasons for creating it are elucidated here more clearly and with greater historical insight than anywhere else that I am aware of.
This work should be mandatory reading for those revanchist musicians and neo-tonalists who practice a sort of musical revisionism in their assessments of Schoenberg's work--indeed, for anyone who is interested in gaining insight into a composer of unquestionable genius.
www.amazon.com /exec/obidos/tg/detail/-/0226726436?v=glance   (1227 words)

 All About Musical Set Theory
Set class analysis refers to the efforts of music theorists to reveal the systems that composers like Schoenberg and his followers used to organize the pitch content of their works.
Keep in mind that sets and set classes determined pitch content only; the composers remained free to fashion all other aspects of the music according to their artistic desires (at least until super-serialism, a philosophy of subjecting every aspect of the music to serial techniques, came into fashion in the 1950s).
Schoenberg's ideas about music were so unorthodox and so radically changed the face of music history, that together with two of his students from Vienna, Alban Berg and Anton Webern, they are called "The Second Viennese School."
www.jaytomlin.com /music/settheory/help.html   (2147 words)

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