Ultimately, the musical idea is the vision of the composer by which a musical work achieves unity in relation to the means by which the work is comprehended in its unity by the listener.
Ultimately, the musical idea is the vision of the composer by which a musical work achieves unity in relation to the means by which the work is comprehended in its unity by the listener.
Arnold Schoenberg (1874¿1951) is one of the most prominent figures in 20th-century music and musical thought, perhaps best known for his development of Twelve Tone theory. Patricia Carpenter (1923¿2000) was Professor Emerita, Barnard College, and former Vice President of the Society for Music Theory. Severine Neff is currently Eugene Falk Distinguished Professor in the Department of Music at the University of North Carolina, Chapel Hill.
Inhaltsangabe
Contents Foreword (2006) by Walter Frisch List of Abbreviations of Cited Sources Editors' Preface Acknowledgments Commentary Schoenberg's View of Art Schoenberg's Preface The Musical Idea Comprehensibility and Coherence Theory of Form The Constructive Function of Harmony Conclusion The Musical Idea and the Logic, Technique, and Art of Its Presentation Preface and Overview Preface Title Page Principles of the Presentation of the Idea Plan of the Book The Profundity of the Idea and Its Realization as a Standard The Musical Idea and the Logic, Technique, and Art of Its Presentation Idea (1 and 2) The Idea in the Contrapuntal Art of Composition and Its Presentation Principles of Construction Comprehensibility Laws of Comprehensibility Coherence The Laws of Musical Coherence Elements of Form The Parts of a Piece Part Elements of Form Phrase Gestalt Grundgestalt and Motive The Difference Between Gestalt and Phrase Features of the Motive Statement Stable Formation Loose Formation Theme Melody Sonority as a Formative Element Rhythm Rhythm Classification of Rhythms Accentuation and Nonaccentuation Formal Procedures [Formal Procedures] Articulation Change, Variation, Variant, Varying Kinds of Variation Coherence of "New Components" Mirror Forms Close Cadencing Cadential Fall Kinds of Connection Technique of Joining Condensation Dissolution, Liquidation Tendency of the Smallest Notes The Structural Capacities of the Scale Wave-Shaped Progression Contrasts (Contrasting Themes) Digression from the Main Idea Principal Idea, Subsidiary Idea Subordinate Theme Secondary, Tertiary, etc. Gestalten and Motives The Shaping of Principal and Subordinate (Accompanying) Voices Development Section Sequences Intensification Does Repetition Have an Intensifying Effect? Voice (Independent) Introduction (1 and 2) Preparation Extramusical Means of Coherence Fantasy Description of All Forms Miscellaneous Performance and Gestalt The Sense of Rit. and Accel. Relaxation Symmetry Origin of Repetitions Primitive Principles Popular Music and Melody Harmony The Constructive Function of Harmony Addendum Keywords Still to Be Indexed Keywords Concordance of Terms Appendix 1Descriptions of the Gedanke Manuscripts Appendix 2Contents of Manuscript No. 10, Listed in Their Original Order Appendix 3German Texts of Unpublished Gedanke Manuscripts Referred to in the Commentary Notes Bibliography Index of Musical Examples Name Index Subject Index
Contents Foreword (2006) by Walter Frisch List of Abbreviations of Cited Sources Editors' Preface Acknowledgments Commentary Schoenberg's View of Art Schoenberg's Preface The Musical Idea Comprehensibility and Coherence Theory of Form The Constructive Function of Harmony Conclusion The Musical Idea and the Logic, Technique, and Art of Its Presentation Preface and Overview Preface Title Page Principles of the Presentation of the Idea Plan of the Book The Profundity of the Idea and Its Realization as a Standard The Musical Idea and the Logic, Technique, and Art of Its Presentation Idea (1 and 2) The Idea in the Contrapuntal Art of Composition and Its Presentation Principles of Construction Comprehensibility Laws of Comprehensibility Coherence The Laws of Musical Coherence Elements of Form The Parts of a Piece Part Elements of Form Phrase Gestalt Grundgestalt and Motive The Difference Between Gestalt and Phrase Features of the Motive Statement Stable Formation Loose Formation Theme Melody Sonority as a Formative Element Rhythm Rhythm Classification of Rhythms Accentuation and Nonaccentuation Formal Procedures [Formal Procedures] Articulation Change, Variation, Variant, Varying Kinds of Variation Coherence of "New Components" Mirror Forms Close Cadencing Cadential Fall Kinds of Connection Technique of Joining Condensation Dissolution, Liquidation Tendency of the Smallest Notes The Structural Capacities of the Scale Wave-Shaped Progression Contrasts (Contrasting Themes) Digression from the Main Idea Principal Idea, Subsidiary Idea Subordinate Theme Secondary, Tertiary, etc. Gestalten and Motives The Shaping of Principal and Subordinate (Accompanying) Voices Development Section Sequences Intensification Does Repetition Have an Intensifying Effect? Voice (Independent) Introduction (1 and 2) Preparation Extramusical Means of Coherence Fantasy Description of All Forms Miscellaneous Performance and Gestalt The Sense of Rit. and Accel. Relaxation Symmetry Origin of Repetitions Primitive Principles Popular Music and Melody Harmony The Constructive Function of Harmony Addendum Keywords Still to Be Indexed Keywords Concordance of Terms Appendix 1Descriptions of the Gedanke Manuscripts Appendix 2Contents of Manuscript No. 10, Listed in Their Original Order Appendix 3German Texts of Unpublished Gedanke Manuscripts Referred to in the Commentary Notes Bibliography Index of Musical Examples Name Index Subject Index
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