Jack Boss takes a unique approach to analyzing Schoenberg's twelve-tone music, adapting the composer's notion of a 'musical idea' - problem, elaboration, solution - as a theoretical framework. Containing analytical readings of key works including Moses und Aron, this study provides the reader with a clearer understanding of this vitally important composer.
Jack Boss takes a unique approach to analyzing Schoenberg's twelve-tone music, adapting the composer's notion of a 'musical idea' - problem, elaboration, solution - as a theoretical framework. Containing analytical readings of key works including Moses und Aron, this study provides the reader with a clearer understanding of this vitally important composer.
Jack Boss is Associate Professor of Music at the University of Oregon. His research interests centre around large-scale coherence in Schoenberg's music, and he has published numerous articles relating to that topic in journals such as Journal of Music Theory, Music Theory Spectrum, Perspectives of New Music and Music Theory Online. He has co-edited two collections of music-analytic essays: Musical Currents from the Left and Analyzing the Music of Living Composers (and Others).
Inhaltsangabe
1. Musical idea and symmetrical ideal; 2. Suite for Piano, Op. 25: varieties of idea in Schoenberg's earliest twelve-tone music; 3. Woodwind Quintet, Op. 26: the twelve-tone idea reanimates a large musical form; 4. Three Satires, Op. 28, #3: the earliest example of the 'symmetrical ideal' in a (more or less) completely combinatorial context; 5. Piano Piece, Op. 33a: the 'symmetrical ideal' conflicts with and is reconciled to row order; 6. Fourth String Quartet, Op. 37, mvt. I: two motives give rise to contrasting row forms, meters, textures and tonalities (and are reconciled) within a large sonata form; 7. Moses und Aron: an incomplete musical idea represents an unresolved conflict between communicating with God using word or image; 8. String Trio, Op. 45: a musical idea (and a near-death experience) is expressed as a conflict between alternative row forms.
1. Musical idea and symmetrical ideal; 2. Suite for Piano, Op. 25: varieties of idea in Schoenberg's earliest twelve-tone music; 3. Woodwind Quintet, Op. 26: the twelve-tone idea reanimates a large musical form; 4. Three Satires, Op. 28, #3: the earliest example of the 'symmetrical ideal' in a (more or less) completely combinatorial context; 5. Piano Piece, Op. 33a: the 'symmetrical ideal' conflicts with and is reconciled to row order; 6. Fourth String Quartet, Op. 37, mvt. I: two motives give rise to contrasting row forms, meters, textures and tonalities (and are reconciled) within a large sonata form; 7. Moses und Aron: an incomplete musical idea represents an unresolved conflict between communicating with God using word or image; 8. String Trio, Op. 45: a musical idea (and a near-death experience) is expressed as a conflict between alternative row forms.
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