Arnold Schoenberg is widely regarded as one of the most significant
and innovative composers of the twentieth century. It is commonly
assumed that Schoenberg's music divides into three periods:
tonal, atonal, and serial. It is also assumed that Schoenberg's
atonal music made a revolutionary break with the past, particularly
in terms of harmonic structure. This book challenges both these
popular notions. Haimo argues that Schoenberg's
'atonal' music does not constitute a distinct unified
period. He demonstrates that much of the music commonly described
as 'atonal' did not make a complete break with prior
practices, even in the harmonic realm, but instead transformed the
past by a series of incremental changes. An important and
influential contribution to the field, Haimo's findings help
not only to reevaluate Schoenberg, but also to redate much of what
has been defined as one of the most crucial turning points in music
history.
A study of the innovative music of the twentieth-century composer,
Arnold Schoenberg.
Arnold Schoenberg is widely regarded as one of the most significant
and innovative composers of the twentieth century. It is commonly
assumed that Schoenberg's music divides into three periods:
tonal, atonal, and serial. It is also assumed that Schoenberg's
atonal music made a revolutionary break with the past, particularly
in terms of harmonic structure. This book challenges both these
popular notions. Haimo argues that Schoenberg's
'atonal' music does not constitute a distinct unified
period. He demonstrates that much of the music commonly described
as 'atonal' did not make a complete break with prior
practices, even in the harmonic realm, but instead transformed the
past by a series of incremental changes. An important and
influential contribution to the field, Haimo's findings help
not only to reevaluate Schoenberg, but also to redate much of what
has been defined as one of the most crucial turning points in music
history.
Table of contents:
Preface; 1. 'Atonality': a revisionist thesis; 2.
'Based on tradition': Four Songs, Op. 2, 1899; 3. The
principle of incremental innovation: Verklärte Nacht, 1899; 4.
Conservative song-cycle, progressive cantata: Gurrelieder,
1900-1911; 5. Programmatic music and its implications: Pelleas und
Melisande Op. 5, 1902-3; 6. Consolidation: Songs, Op. 3, 1903-4; 7.
Abstract form, secret program: String Quartet, Op. 7, 1904-5; 8.
Referencial centers? Lieder and Fragments, Fall 1905; 9. Absolute
music and its consequences: Chamber Symphony, Op. 9, 1905-6; 10.
Crisis: Friede auf Erden, Op. 13, Ballades, Op. 12, and the
reception of Shoenberg's music, August 1906-July 1907; 11.
Motivic economy: String Quartet No. 2, Op. 10, movements one and
two, March-December 1907; 12. 'Until then I lacked the strength
and confidence': Two Songs, Op. 14, December 1907-March 1908;
13. Beyond triads: the first layer of Das Buch der hängenden
Gärten, Op. 15, March-April 1908; 14. 'On revient
toujours?' Returning to Opp. 10 and 15, June 1908 - February
1909; 15. The analysis of Schoenberg's post-1908 music: Pieces
for piano, Op. 11, nos. 1 and 2, February 1909; 16.
'Intoxicated by the enthusiasm': Five Orchestral Pieces,
Op. 16; Piece for Piano, Op. 11, No. 3, May-August 1909; 17. The
birth (and death) of new music: August 1909 and beyond;
Bibliography.
Ausstattung/Bilder: 442 p. - 136 music examples - 254 x 183 mm
Seitenzahl: 430
Englisch
Abmessung: 247mm x 186mm x 33mm
Gewicht: 1034g
ISBN-13: 9780521865425
ISBN-10: 0521865425
Best.Nr.: 22278144
'... impressive book ... Haimo argues his case compellingly.' Alfred Cramer, Journal of the American Musicological Society
Ethan Haimo is a theorist and composer, and lectures in the Department of Music, University of Notre Dame.
Inhaltsangabe
Preface; 1. 'Atonality': a revisionist thesis; 2. 'Based on tradition': Four Songs Op. 2 1899; 3. The principle of incremental innovation: Verklarte Nacht 1899; 4. Conservative song-cycle progressive cantata: Gurrelieder 1900-1911; 5. Programmatic music and its implications: Pelleas und Melisande Op. 5 1902-3; 6. Consolidation: Songs Op. 3 1903-4; 7. Abstract form secret program: String Quartet Op. 7 1904-5; 8. Referencial centres? Lieder and Fragments Fall 1905; 9. Absolute music and its consequences: Chamber Symphony Op. 9 1905-6; 10. Crisis: Friede auf Erden Op. 13 Ballades Op. 12 and the reception of Shoenberg's music August 1906-July 1907; 11. Motivic economy: String Quartet No. 2 Op. 10 movements one and two March-December 1907; 12. 'Until then I lacked the strength and confidence': Two Songs Op. 14 December 1907-March 1908; 13. Beyond triads: the first layer of Das Buch der hangenden Garten Op. 15 March-April 1908; 14. 'On revient toujours?' Returning to Opp. 10 and 15 June 1908-February 1909; 15. The analysis of Schoenberg's post-1908 music: Pieces for piano Op. 11 nos. 1 and 2 February 1909; 16. 'Intoxicated by the enthusiasm': Five Orchestral Pieces Op. 16; Piece for Piano Op. 11 No. 3 May-August 1909; 17. The birth (and death) of new music: August 1909 and beyond; Bibliography.
