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	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
		The most prominent school to compose in this manner was the Second Viennese School of Arnold Schönberg, Alban Berg, and Anton Webern.
		Their music arose from what was described as the crisis of tonality in the late 19th century and early 20th century in classical music.
		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.
	en.wikipedia.org /wiki/Atonality (1241 words)

	Vienna Philharmonic \| Viennese Sound
		The emergence of national schools of composition in various countries at the beginning of the 19th century led to variations in the way instruments were constructed.
		Viennese music remained essentially faithful to concepts of sound originating from the Viennese classics, although there were some developments.
		Viennese percussion has the following unusual features: The skin of all the membraned instruments is genuine goat parchment, which gives a richer range of overtones than artificial skins (aural.at).
	www.wienerphilharmoniker.at /index.php?cccpage=viennese_sound&set_language=en (905 words)

	Music for the future: Sounds of early-twentieth-century psychology and language in works of Schoenberg, Webern, and ...
		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.
	repository.upenn.edu /dissertations/AAI9727207 (454 words)

	Home (Site not responding. Last check: 2007-10-22)
		One can talk of the Viennese violoncello school as an organic trend only symbolically since the Austrian capital was a haven for representatives of different national schools (such as the Czech) and the "teacher-pupil" links were not as distinct and consistent as with the Dresden school.
		Nevertheless, the Viennese school occupies a prominent place in the history of the violoncello because of the works of the Viennese composers, the classical and later the romantic, as well as the flowering of the quartet connected with this city.
		They were linked by their school's certain common features (both were representatives of the Dresden school and thus "grandchildren" of Grutzmacher), such as similar artistic tastes, the austerity of interpretation prompted by rejection of the virtuoso romantic line, an "academic" style of playing, and a heightened interest in teaching and compiling teaching aids and editions.
	www.celloheaven.com /bios/viennese/viennese.htm (4251 words)

	AIArchitect, June 10-16, 2002 - OWP/P's Foreign Exchange
		The architects for the Austrian schools program were selected through a design competition, Le said, which he said eliminates the need to enlighten clients who cling to old ways of approaching school architecture.
		In Vienna, schools are limited to 500 students, and they are constructed with a wing corridor system to allow light into the building to create a feel of a "main street," the OWP/P architects report.
		He noted that because the schools are treated as home-like environments, students and teachers often remove their shoes and wear slippers, instead.
	www.aia.org /aiarchitect/thisweek02/tw0607/0607tw2owpp.htm (833 words)

	ArtLex's Sc-Sd page
		A common influence may be a period, a movement (for example, Impressionist school), an attitude (for example, naturalist school), or a particular artist (for example, school of Rembrandt).
		When applied to a particular painter, this may either mean that the work in question was painted in that artist's studio by one of his pupils or assistants (apparently with a certain amount of the master's guidance), or that it is an imitation or copy of his or her work.
		School or safety scissors are smaller to fit small hands, and the ends of their blades are very rounded.
	www.artlex.com /ArtLex/Sc.html (2821 words)

	DR V6.1: A Conversation with Milan Turkovic (Site not responding. Last check: 2007-10-22)
		I admit that the school in Venice where he supposedly wrote these pieces may have had some people with incredible talent not seen elsewhere in Europe, but this would be an extreme.
		When someone in school told us there was a man, Quantz, a flute teacher who wrote for a king, and who wrote about how play the flute, the next thing mentioned is to forget it, because "that was a different flute and not much work to play.
		The Viennese school of wind players is conservative; it has enormous advantages and it has some disadvantages.
	idrs.colorado.edu /Publications/DR/DR6.1/conversation.html (3698 words)

	JNL 6: Hans Hadamowsky and the 'Oboeschule' (Site not responding. Last check: 2007-10-22)
		The Hadamowsky "Oboeschule" (1973) is the first new Viennese oboe method in 150 years, the last having been written by Joseph Sellner, a friend of Beethoven, a respected composer, and the first oboe professor at the Vienna Conservatory (founded in 1817).
		As Hadamowsky states the term "Viennese" is certainly misleading and does not refer to the limits of the instruments.
		His students at the municipal school of music, the Akadamie of Vienna, requested the older method and convinced listeners, through their playing, of the value of retaining for artistic purposes the traditional Viennese sound.
	idrs.colorado.edu /Publications/Journal/JNL6/hans.html (2405 words)

	Memories of the 1940's (1996-1998 archive): The Viennese school girl
		Consequently at the end of the four years of primary school at age ten I could not go to high school until the war was over.
		When at school we all kept a lookout for the school janitor who always listened to the radio which would carry constant reports on enemy planes heading for the Austrian borders.
		In the last few weeks before the end of the war there was no school as there were to many air raids and in the last two weeks we practically lived in the cellar and we could hear the canon fire of the Russian Army.
	www.youth.net /memories/hypermail/0401.html (1077 words)

	THE BUSINESS OF MUSIC Part II: MUSIC AND THE MIND by Ernst Roth Part 3: MusicWeb(UK) (Site not responding. Last check: 2007-10-22)
		For this was not like Raphael's 'School of Athens' where wisdom was freely offered, where believers were fortified in their belief and the incredulous persuaded by reasoned argument.
		And the unanointed were repelled by the atrociously overbearing behaviour of the guardians or doorkeepers of the school.
		Schoenberg, the teacher and guiding light of the school, insisted on the old function and purpose of music-that it should be an expression of feeling, laugh or weep, be tranquil or excited, in fact have all the properties which music had acquired in the preceding two hundred and fifty years.
	www.musicweb-international.com /Roth/Viennese.htm (5538 words)

	[No title]
		The rise of national schools of composition at the start of the 19th century dictated changes, as well, in the making of musical instruments in the various countries.
		Moreover, the Viennese horns are made of stronger materials than, for example, the French Horn (Double Horn in both F and Bb).
		And the Viennese Double-Bass School at the time of Viennese Classicism, which, through the customary violin-tuning in thirds, enabled each master to contribute to the concert- or chamber music-literature for that instrument.
	www.austria-tourism.at /content_detail...2.html?id=307082&_h=kultur&_hm=31460&_um= (1374 words)

	ICM Newsletter vol. 1, no. 2: Karl Steiner, Canadian Apostle of the Second Viennese School
		Karl Steiner was introduced to the Second Viennese School by the pianist Olga Novakovic, who had been affiliated with the circle for several years before Steiner became her student in 1932.
		There was one ally from the old Viennese days: Franz Kraemer, another refugee, had studied composition with Berg and was in fact closer to the Second Viennese School than anybody in Canada.
		It accompanied an exhibition on the Second Viennese School that was organized by the Austrian Government.
	www.utoronto.ca /icm/0102a.html (3948 words)

	Cramer, The Schoenberg Circle's Utopian Performance Practice
		Although a few people who participated in the Viennese School's performances are still very much with us, I think it fair to say that if we want to bring back the practice we will have to reconstruct it.
		In the Viennese School's practice, performers were to sublimate their own interpretive personalities in presenting a performance faithful to what was in the score, but at the same time the performances were to be lively, spontaneous, and often anything but literal readings of the score-expressive but not self-expressive on the part of the performer.
		This belief led the Viennese School to bet on atonality, not knowing what the new musical logic would be like, not knowing which sorts of musical features would be found most expressive, not even knowing whether logic or emotion as we know it would exist under that higher truthfulness of the future.
	pages.pomona.edu /~awc04747/AMS96/FINAL.html (3728 words)

	NYU Course: Music Literature--Book Abstract
		He pointed out that there was no "research tradition" in the Viennese Classical School of the second half of the 18th century if comparing with scholarship in the Medieval and Renaissance.
		This tradition began at the end of the 17th century,and under the reign of Charles fourth was the climax,declined with Maria Theresia's rule,and formulated again during the last quarter of the 18th century.
		The typical of Viennese opera during the last third of the 18th century is the prevalence of opera buffa in Salieri's Viennese output.
	www.nyu.edu /classes/gilbert/classic/jones.html (1936 words)

	epschwei (Site not responding. Last check: 2007-10-22)
		This subproject is based on the thesis that the "Klanglichkeit" of music became one of the central categories of composition in Viennese modernity.
		The fact that the category of "Klanglichkeit" raised interest as a musical dimension that had traditionally been marginalised in the modern European musical culture with respect to technical and theoretical aspects, also makes it a subject of culture studies.
		A synthesis of possible resulting diagnoses shall finally formulate a theory of "Klanglichkeit" as an example of a theory of composition in Viennese modernity, determined by the material and socio-cultural circumstances.
	www-gewi.kfunigraz.ac.at /moderne/epschwei.htm (174 words)

	Thesis Proposal
		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.
		As Subotnik illustrates in the introduction to Developing Variations, the most startling aspect of Adorno's work is not the connections he drew between the structure of music and socially determined meanings (though this in itself was quite unusual at that particular time), but that his works demonstrate such an explicit and blatant political viewpoint.
		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)

	Classical Period
		To the dominant Viennese composers of the period, Classicism meant music that pertains "to the highest order of excellence" (Machlis and Forney 231).
		"Viennese school" is the general term used to describe the Classical period musical scene, which centered on the achievements of the Viennese school masters -
		Haydn and Mozart characterize both the early and mature Viennese styles, while Beethoven determined the late style.
	www.fasindy.org /Education/Classical.html (2225 words)

	Spanish Riding School • Morning Exercises with Music • Pop Culture and Cinema • Travel to Vienna, Austria
		Those horses (only stallions)which were brought to the Viennese Riding School, were accommodated in the "Stallburg", the oldest wing of the Hofburg which was rebuilt in Renaissance style.
		The Viennese Riding School takes its name from a horse race, which originated from Spain and was well known already in Roman times.
		The form in which we recognize the present day Spanish Riding School was achieved at the beginning of the 19th century.
	www.culturekiosque.com /calendar/item2960.html (261 words)

	Johns Hopkins Gazette \| January 18, 2005 (Site not responding. Last check: 2007-10-22)
		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)

	Kelsen and his Circle: The Viennese Years
		In recent years numerous publications have appeared which address the social and historical conditions of this intellectually progressive period, the diverse ties among its leading figures and, finally, the cultural exodus from Austria.
		An important characteristic of Viennese modernism was the way it encompassed both culture understood in a more narrow sense and science.
		This may explain why there was a `scientific' streak in the rational `coolness' of the Second Vienna School's twelve-tone music, why the development of psychoanalysis transcended the boundaries of science and culture, and why even today the iron core of Viennese modernism, the neo-positivism of the Vienna Circle, may be seen as a cultural phenomenon.
	www.ejil.org /journal/Vol9/No2/art9-01.html (553 words)

	HUMMEL, JOHANN NEPOMUX - LoveToKnow Article on HUMMEL, JOHANN NEPOMUX (Site not responding. Last check: 2007-10-22)
		In 1818, soon after his marriage with Miss Burnley, the daughter of an East India director, he was returned to parliament as member for the Border burghs.
		His experience as a playe and teacher of the pianoforte was embodied in his Grea ^ianoforte School (Vienna), and the excellence of his method is urther proved by such pupils as Henselt and Ferdinand Hiller.
		Joth as a composer and as a pianist Hummel continued the raditions of the earlier Viennese school of Mozart and Haydn; lis style in both capacities was marked by purity and correctness ather than by passion and imagination.
	85.1911encyclopedia.org /H/HU/HUMMEL_JOHANN_NEPOMUX.htm (2132 words)

	Neue Wiener Schule \| Jack Kirstein, Alban Berg, ... \| "Webern a la Schubert"
		This quartet was long known for it's interpretations of the music of the Second Viennese School, and it's good to have these performances remain in the catalogue.
		This collection of music for string quartet by the Second Viennese School can now be said to have classical status.
		Above all, these composers were through and through Viennese and these recordings show just how much their music grew out a continuum with the tradition handed down to them from Schubert, Beethoven, and Brahms.
	www.this-is-great.com /info/xbfffffexglxl (1240 words)

	Haydn, Mozart and the Viennese School (Main Page) (Site not responding. Last check: 2007-10-22)
		For years, historians have described the music of the so-called "Viennese School" as directly descending from German Lutherism up to Bach's death in 1750.
		The treasure trove of hitherto unseen documents that Professor Heartz uncovered while working in the Viennese archives bears witness to the enormously rich musical life of Vienna during the four decades' reign of the Empress Maria Theresa.
		Author of several highly praised books and critical editions, he is widely recognized as one of the foremost eighteenth-century scholars in the music world today.
	www.wwnorton.com /catalog/fall94/003712.htm (302 words)

	CD Spotlight. Eupeptic verve - Viennese music played by the Bruckner Orchester Linz, reviewed by Robert Anderson. '... ... (Site not responding. Last check: 2007-10-22)
		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)

	Conservatory Backstage Pass: Burgis Receives Fulbright
		For her Fulbright project, Burgis will study Viennese music of the Renaissance and the 20th century, which she says are two disparate musical periods with a Viennese connection.
		"The composers in the second Viennese school, such as Webern and Schoenberg, were very interested in pre-19th century music as a reaction against Romanticism.
		She continues, "Really the reason I chose this subject is that music of the Renaissance and 20th century fascinates me. I will study music history in graduate school when I return from Vienna, so I hope to find a specific area of focus during my year as a Fulbright scholar.
	www.oberlin.edu /con/bkstage/199904/burgis.html (531 words)

	Joseph Haydn and the Classical Era
		However, Viennese Classical music did not take many ideas from ancient Greek music because this was not possible.
		Without being able to read music he played the harp, and when I was a boy of five I was able to repeat all of his short and simple songs.
		This caused my father to send me to Hainburg in the care of the school director, a relative, so that I might learn there the rudiments of music and other elementary general subjects.
	www.carolinaclassical.com /articles/haydn.html (4217 words)

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