
	Where results make sense

Topic: Second Viennese School

Related Topics

Viennese school

First Viennese School

Hugo Wolf

Anton Dvorak

Vienna, Austria

Sonata form

Arnold Schoenberg

Theodor Adorno

Oedipus the King

Vienna

Mozart

Gustav Mahler

Anton Webern

Note

Alban Berg

In the News (Mon 6 Jul 09)

Northern Trust

Marvin Harrison

Peter Chernin

Gary Locke

Match Play

Penelope Cruz

Mickey Rourke

AR Rahman

Danny Boyle

Hugh Jackman

	Second Viennese School - Wikipedia, the free encyclopedia
		The Second Viennese School was a group of composers made up of Arnold Schoenberg and those who studied under him in early 20th century Vienna.
		The principal members of the school, besides Schoenberg, were Alban Berg and Anton Webern, although there are lesser known composers who perhaps ought to be covered by the term, such as the Greek Nikolaos Skalkottas.
		The 'First Viennese School', which is rarely referred to as such except in comparison to the Second, is generally taken to consist of Vienna-based composers working in the late 18th and early 19th century, particularly Wolfgang Amadeus Mozart, Joseph Haydn, Ludwig van Beethoven and Franz Schubert.
	en.wikipedia.org /wiki/Second_Viennese_School (175 words)

	Atonality - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-09-06)
		The most prominent school to compose in this manner was the "Second Viennese School" of Arnold Schoenberg, Alban Berg, and Anton Webern.
		The second period, begun after World War I, was exemplified by attempts to create a systematic means of composing without tonality, most famously the "method of composing with 12 tones" or the twelve-tone technique.
		The Second Viennese School, and particularly 12 tone composition, was taken by avant-garde composers in the 1950s to be the foundation of "The New Music", and led to serialism and other forms of musical experimentation.
	www.kernersville.us /project/wikipedia/index.php/Atonality (1221 words)

	Viennese Coffee (Site not responding. Last check: 2007-09-06)
		The Viennese Waltz, called so to distinguish it from the Waltz and the French Waltz, is the oldest of all ballroom dances.
		It emerged in the second half of the 18th century from the German dance and the Ländler in Austria and in the beginning was disapproved-of on account of its "lasciviousness", e.g.
		The First Viennese School is a name sometimes given to a group of classical music composers who wrote in the classical music era in the late eighteenth century in Vienna.
	www.blownspeakers.com /pages3/94/viennese-coffee.html (657 words)

	Johns Hopkins Gazette \| January 18, 2005
		In musical terms, the Second Viennese School refers to Arnold Schoenberg and those who studied under him in early-20th-century Vienna, principally Alban Berg and Anton Webern.
		The Second Viennese School opened the doors to experimentation with sound and electronic media that is still going on today.
		While the music of the Second Viennese School may seem modern to some concertgoers, these vital works have in fact passed into the mainstream of music history.
	www.jhu.edu /~gazette/2005/18jan05/18second.html (452 words)

	wikien.info: Main_Page (Site not responding. Last check: 2007-09-06)
		The most prominent school of musicians to compose in this manner were the "Second Viennese School" of Arnold Schoenberg, Alban Berg, and Anton Webern.
		The Second Viennese School's music described as "atonal" arose from what was described as the "crisis of tonality" in the late 19th Century and early 20th Century in classical music.
		The second period, begun after the war, was exemplified by the attempts to create a systematic means of composing without tonality, most famously the "method of composing with 12 tones" or 12 tone music, also referred to as dodecophonic (see twelve-tone technique).
	www.hostingciamca.com /index.php?title=Atonality (1103 words)

	Doctor, Jennifer R. (1993) (Site not responding. Last check: 2007-09-06)
		Second, high-level policy decisions relating to contemporary music transmissions are considered in order to trace the administrators' reasons for devoting broadcast time to this repertory.
		Finally, the broadcasts of Second Viennese School works that took place during this period are described season by season.
		In this part, specific BBC decisions that led to the transmissions are explored, as is the surviving correspondence between the Corporation and the composers and performers who were involved in the broadcasts; moreover, the discussion examines significant responses to the broadcasts and relates those responses to subsequent policies and broadcasts of similar works.
	www.sun.rhbnc.ac.uk /Music/Archive/Disserts/doctor.html (370 words)

	[No title] (Site not responding. Last check: 2007-09-06)
		Statements by the Viennese School and others imply that atonal works were not intended to convey ideas through rational structure but through musical representations of perception, thought, and language, whose functioning was regarded as illogical at that time.
		Part I positions the Viennese School within early twentieth-century Viennese culture and identifies its motivations for overturning the established musical order with a music that was supposedly untainted by convention.
		Such performance was expected to transcend the performer's understanding, a fact explained with reference to performance practices of the Viennese School's day, to recent discussions about performance practice, and to the Viennese School's belief that its music was of the future.
	pages.pomona.edu /~awc04747/dissert.html (392 words)

	Walt Disney Concert Hall - Serkin Recital Notes
		René Leibowitz' pioneering introduction to the music of Arnold Schoenberg and the Second Viennese School is tellingly subtitled "The Contemporary Stage of the Language of Music" (this was in 1946).
		The second movement is composed as a canon in contrary motion, creating complex right-hand/left-hand crossing patterns, in a simple binary form: a repeated 11-bar statement followed by its repeated 11-bar variation.
		It is found in the little notebook of music Bach compiled in 1725 for his second wife, Anna Magdalena (a professional singer), and their children.
	wdch.laphil.com /misc/serkin_recital_notes.cfm (1676 words)

	Pozycjonowanie promocja - Arts > Music > Composition > Composers > Early 20th Century > Second Viennese ... (Site not responding. Last check: 2007-09-06)
		The BBC and the Ultra-modern Problem: A Documentary Study of the British Broadcasting Corporation's Dissemination of Second Viennese School Repertory, 1922-36 - Abstract of the 1993 PhD dissertation of Jennifer R. Doctor at Northwestern University noting policy decisions and actions and the changes in thought concerning the airing of this newer musical style.
		The Order of Numbers in the Second Viennese School of Music - Mathematical background for help in understanding the some of the works of Schoenberg, Berg, Webern, and Milton Babbitt by Carlota SimĂľes, Department of Mathematics, University of Coimbra, Portugal.
		Remembering the Second Viennese School - Blog by Charles T. Downey shows the beginnings and evolution of the group, including a reminiscence by Schoenberg.
	www.websukces.net /dmoz/index.php?c=/Arts/Music/Composition/Composers/Early_20th_Century/Second_Viennese_School (292 words)

	Vienna, Austria - Capital of Classical Music - Famous Austrian Composers from Vienna
		Vienna's fascination with 'serious' music did not vanish at the end of the 19th century, nor did the Viennese confine themselves to the classic standards of Mozart, Beethoven or the Strauss family.
		In school he was always an outsider and after he failed the School of Agriculture, he started an apprenticeship as a cook.
		The Viennese waltz has its origins in the 18th century with the advent of a bourgeois society.
	www.aboutvienna.org /composers/musiker.htm (608 words)

	Internet Public Library: Music History 102 (Site not responding. Last check: 2007-09-06)
		Schönberg studied music informally with Viennese composer Alexander von Zemlinsky (1871-1942), from whom he developed a passion for the music of the then still controversial Richard Wagner.
		Viewing themselves as the direct heirs of the Viennese musical legacy from Haydn to Brahms, Schönberg and his pupils began composing works that, with their advanced chromaticism, strained the boundaries of traditional tonality, to the point where the use of a key signature was eventually superfluous and ultimately abandoned.
		The most outwardly romantic of the three composers of the Second Viennese School, his music is the most suggestive of the post-romanticism of Wagner and Mahler.
	ipl.si.umich.edu /div/mushist/twen/schoenberg.htm (910 words)

	Thesis Proposal
		Although he continued to compose throughout most of his life, his compositions were always far overshadowed by his academic works in philosophy, sociology, and music criticism But the influence of The Second Viennese School made a huge impact on all of his later works.
		As Jay Martien notes, Adorno had "an ‘atonal philosophy' deeply indebted to the compositional techniques of the Schönberg school." This relationship between the two men has the potential to be explored further - especially in terms of comparing their particular approaches to the music of that particular period.
		Secondly, as a musician and composer of the Second Viennese School, Adorno was a member, contributor, and a propagator of an avant-garde artistic movement.
	www.humanities.mcmaster.ca /~mus701/brian/thesisprop (1769 words)

	Second Viennese School - Encyclopedia, History, Geography and Biography
		Second Viennese School - Encyclopedia, History, Geography and Biography
		The principal members of the school were Alban Berg, Anton Webern and Schoenberg, although there are lesser known composers who ought to be covered by the term, such as the Greek Nikolaos Skalkottas.
		The First Viennese School, which is rarely referred to as such except in comparison to the Second Viennese School, is generally taken to consist of composers working in the late 18th and early 19th century, particularly Wolfgang Amadeus Mozart, Joseph Haydn, Ludwig van Beethoven and Franz Schubert.
	www.arikah.com /encyclopedia/Second_Viennese_School (163 words)

	Beethoven and the Second Viennese School \| Beethovenfest \| Deutsche Welle \| 17.10.2003 (Site not responding. Last check: 2007-09-06)
		This year's theme was dedicated to the connection between Beethoven's work and the that of the Second Viennese School led by Arnold Schoenberg, Anton Webern, and Alban Berg; three composers whose inspiration came by talking a look back at Viennese classicism of the first half of the twentieth century led by Beethoven, Mozart, and Haydn.
		The leaders of the Second Viennese School agreed with Beethoven on these issues.
		Beethoven's "Second Piano Concerto" had also been performed at the concert, which was broadcasted worldwide by Deutsche Welle and Georgian Radio.
	www.dw-world.de /dw/article/0,1564,811596,00.html (758 words)

	Greenwood Publishing Group I1 (Site not responding. Last check: 2007-09-06)
		Presenting a coherent analysis of a central school of modern musical composition, the essays compare the artists' music to that in the nonmusical arts in Vienna at the time.
		A prominent musical phenomenon during the period, the Second Viennese School of Music would exert a profound impact on European and American composers in the decades following World War II.
		The recent discoveries and critical perspectives on the composers discussed in these essays detail new information on central aspects of their work, including the origins of atonal composition, the 12-tone method, and the literary models that often inspired their works.
	info.greenwood.com /books/0313296/0313296049.html (353 words)

	Styles of Music - Romantic
		If it opens with Beethoven, it closes with Stravinsky and his extraordinary ballets written for Diaghilev, with Mahler and Richard Strauss and their vast tonal canvases, and with Arnold Schoenberg, his Second Viennese School, and a conscious rewriting of the rules of composition.
		It was a time in which contradictions were exposed and heightened, in which the individual and personally creative voice took second place to nothing, and from which the values of the French and American revolutions assumed primacy.
		Consider also the hybrids of the symphonic tone poem: Liszt's 'Prometheus' is terrific fun, Strauss' 'Death and Transfiguration' is deeply moving, and the inspired American crackpot Anthony Philip Heinrich and his 'Ornithological Combat of Kings, or The Condor of the Andes and the Eagle of the Cordilleras' can't be beat for sheer oddness.
	www.sfsymphony.com /templates/router.asp?nodeid=2031 (1128 words)

	Meyer Glossary
		The second of the four main subsections of the exposition and recapitulation in sonata form.
		The second of the twentieth century phases, led by composers such as Aaron Copland, a reaction against the atonal phase and emphasizing folk music in classical compositions, music that might appeal to a broad listening public.
		The second theme--like the first theme often actually a cluster of two or more little melodies--is the contrasting subsection of the movement, a counterbalance to the first theme.
	wps.prenhall.com /wps/media/objects/543/556194/Key_Terms/meyer_keygloss.html (13823 words)

	Guardian Unlimited \| Arts news \| Siegfried Palm
		Born in Wuppertal, Germany, Palm was the son of a cellist in the local orchestra; and it was his father, himself a pupil of Julius Klengel, who gave "Sig" his grounding in the instrument, starting in 1933.
		By the age of nine, he was playing in public, and during the second world war he gave concerts in hospitals (which saved him from conscription in the mad months of late 1944 and early 1945).
		He is survived by his second wife, Heidi, and their daughter, Corinna.
	www.guardian.co.uk /arts/news/obituary/0,12723,1510991,00.html?gusrc=rss (712 words)

	[No title]
		The transitional period of the Second Viennese School between late romantic tonality and serial composition is provoking both compositionally and theoretically.
		The basis of the harmonic language of Viennese expressionism is the chromatic scale and not the major/minor diatonic scale, as in tonality, therefore there are no tones foreign to the harmonic system (nonetheless, as I will argue later, one may still have non-chord tones in an atonal idiom).
		The notion of contrast is certainly not absent from the free-atonal music of the Second Viennese School.
	www.cnmat.berkeley.edu /~bruce/berg.html (3455 words)

	Lesson 64 (Site not responding. Last check: 2007-09-06)
		The Viennese composer Arnold Schoenberg, under the influence of the German Expressionist movement, sought new ways to organize pitches.
		He first abandoned tonality altogether (atonality), then unhappy with the results, devised a complex system (serialism or twelve-tone method) based on a particular arrangement of the twelve chromatic tones (a tone row), which became the source for building themes, harmonies, and counterpoint.
		Arnold Schoenberg and his two students, Berg and Webern, represent the Second Viennese School.
	www.wwnorton.com /college/music/enj9_lessons/Part_8/lesson64.htm (291 words)

	Second Viennese School: Definition and Links by Encyclopedian.com - All about Second Viennese School (Site not responding. Last check: 2007-09-06)
		Second Viennese School: Definition and Links by Encyclopedian.com - All about Second Viennese School
		The Second Viennese School is a term used to refer to the composers who studied under Arnold Schoenberg in early 20th century Vienna, as well as Schoenberg himself.
		Their music is characterised by the use of Schoenberg's twelve tone technique.
	www.encyclopedian.com /se/Second-Viennese-School.html (151 words)

	Sesquipedalian Web Page: MPhil Intro (Site not responding. Last check: 2007-09-06)
		During the fin-de-siècle period there was an emergence of chromaticism as neither a colouration of erstwhile tonal harmony nor as a precursor to the Second Viennese School.
		In this style of composition, chromatic elements were not employed by the composers to colour or support classical harmony; rather they formed definite and independent structural links in their compositions.
		Samson considered Busoni’s place in music history to be a link in the chromatic confusion of the early part of the twentieth century: a link between the Austro-German tradition that manifest itself in the Second Viennese School and the non-Germanic composers who sought independent tonal languages, such as Debussy, Bartók and Stravinsky.
	www.sesquipedalian.fsnet.co.uk /mphil.html (875 words)

	CD Spotlight. Eupeptic verve - Viennese music played by the Bruckner Orchester Linz, reviewed by Robert Anderson. '... ... (Site not responding. Last check: 2007-09-06)
		The odd conceit of waiting for Schoenberg before announcing a Second Viennese School seems more than usually perverse after listening to this disc.
		If it be thought that the Second School only waltzed or cotilloned, Brahms can be thrown in for a little symphonic weight, and Richard Strauss to show that operetta might sometimes become opera.
		Schoenberg and co must be patient and just wait till their historical position is more settled.
	www.mvdaily.com /articles/2004/08/viennese1.htm (258 words)

Try your search on: Qwika (all wikis)