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Arnold Schoenberg's concept of Klangfarbenmelodie (melody of timbres) is one of the most important yet least understood compositional innovations of the twentieth century. By examining significant factors in Klangfarbenmelodie's theoretical formulation, proposing functional roles that timbre can fulfill, and locating examples of timbre realizing those musical functions in "Farben," the third of Schoenberg's Five Orchestral Pieces, Op. 16, this article demonstrates some of the ways timbre can shape music and our musical experience. While musical logic based on timbre operates according to laws of its own, not those of pitch, parallels can nonetheless be drawn between harmonic functions and timbral functions. Timbral developments are shown to articulate the formal process in "Farben" and create coherent progressions, modulations, and cadences that illustrate some possibilities of how timbre can function in music. [ABSTRACT FROM AUTHOR]

The revival of Formenlehre studies has initiated a renewed interest in formal functions in atonal music. Schoenberg, who pioneered the study of formal functions, did not extensively analyze his atonal music from a formal point of view. Recent scholars, however, have drawn parallels between the formal construction of his atonal music and common-practice tonal music. One impediment to such analysis is the lack of a theory of counterpoint and harmony upon which formal-functional analysis rests. I propose a normative contrapuntal-harmonic structure for Schoenberg's atonal music I call the "chromatic cadence." I trace its origins to voice-leading techniques used by Schoenberg in his earlier tonal music and develop fundamental principles that guide the analysis and identification of the cadence in his atonal music. I conclude with a detailed analysis of Schoenberg's piano piece, op. 19, no. 1, in which I examine the interrelationship of its motivic construction, contrapuntal-harmonic structure, and its formal functions. [ABSTRACT FROM AUTHOR]

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Este texto aborda uma das polêmicas mais importantes da teoria e análise musical do século XX. O embate entre Schoenberg e Schenker sobre a legitimidade das notas não harmônicas na música tonal, dissonâncias, a importância de motivo e forma. No texto busca-se discutir e esclarecer as concepções sobre estes assuntos e sua importância para as respectivas teorias analíticas de cada autor. Por fim, o texto apresenta as tentativas de reconciliação entre as duas tendências analíticas.

Like Schoenberg, Babbitt was ambivalent about certain complexities of performance, which were integrally connected to the nature and presentation of his music. The psychological accessibility of his music, the virtuosity required for the ideal realisation of his compositions, and the implications of his notation all related directly to the creative processes of his performers. Upon considering these factors, it is suggested that Babbitt's ambivalence about and reluctance to address the practical concerns of his interpreters, even those with whom he worked closely and for whom he had considerable regard, may have significant consequences for the dissemination of his oeuvre. Performers whose experiences are examined include Bethany Beardslee, Judith Bettina, Robert Black, Rolf Schulte, and Fred Sherry. [ABSTRACT FROM AUTHOR]

This essay considers the sound of Arnold Schoenberg's Klavierstück, op. 33a, discussing aesthetic effects of combinatoriality and pitch repetition. In taking John Rahn's general advice regarding listening to Schoenberg "late at night with the lights off," two compelling parallels with psycholinguistic phenomena emerge--one dealing with semantic satiation, and the other with a related experience called the verbal transformation effect. [ABSTRACT FROM AUTHOR]

The audible creaking of Glenn Gould's loose-jointed piano chair has historically been the subject of apologetic liner notes and recording studio memoirs. These chair creaks are here recognized as "sounded movements" of Gould's body. This article triangulates the score of Schoenberg's Sechs kleine Klavierstücke, op. 19, no. 1, published analyses of its unique rhythmic unfolding, and new micro-temporal measurements of Gould's September 1965 recording of the work. Quantifying Sanden's concept of "corporeal liveness," spectrographic tools are used to generate a proper census of all the sounds captured by the microphone in order to map their rhythmic interaction. A notable "creak gap" in Gould's recording is linked to published observations regarding the work's process of emerging metric clarity, and one of Gould's vocal elaborations is recognized for its augmentation of Schoenberg's pitch material. Overlaying analytical literature with microtiming data reveals a correlation between the composition's trajectory of metric clarification and the decrease in Gould's physical motion. The findings are used to question the pervasive and disturbing suppression of non-notated sounds that accompany the recording of notated music. Recognizing sounds that are normally marginalized, this study fuses theoretical observations about Schoenberg's composition with the audio artifacts of Gould's corporeality. [ABSTRACT FROM AUTHOR]

Inhalt (‘content’) is so common that it could hardly pass as a technical term. The purpose of this article is to show that from the 18th to the 20th century it was nevertheless used particularly to denote the specifically musical meaning arising from what music ‘contains’ of notes, rhythms, melodic cells, etc. Hegel, Marx, Hauptmann, Hanslick, Schenker, Schoenberg and probably others shared the same view that music has a content of its own, one that cannot be translated in verbal language.

This paper presents a comparative analysis of Ode to Napoleon Buonaparte op. 41 (1942) and A Survivor from Warsaw op. 46 (1947) to show that Schoenberg's compositional decisions for each piece reflect the public's (and his) change of atitude regarding the historical events surrounding World War II. In particular, I argue that Ode frequently features humorous depiction of the Nazi regime through various types of musical satire whereas Survivor's overall compositional planning and execution are more in line with his other compositions without a satirical tone, for example, the String Trio op. 45. The analyses in this paper show humorous elements in Schoenberg's Ode to Napoleon and demonstrate how these elements are avoided in Survivor from Warsaw to make space for the sincere criticism of the Nazi party and to raise awareness for the survivors. I begin by interpreting satirical passages in Ode as instances of incongruent juxtapositions and then examine the different ways the incongruence manifests. I then discuss the leitmotivic partitioning of various twelve-tone row forms in Survivor to show the compositional congruence between the text, musical textures, and partitioning schemes. Given the change of compositional mood between Ode and Survivor (in addition to the historical evidence), this paper speculates that Schoenberg's motivation for composing Survivor was to rectify the narrative tone he adopted in Ode. [ABSTRACT FROM AUTHOR]

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Composer complete critical editions originated in the mid nineteenth-century and remain an important contribution to twenty-first-century scholarship and performance practice. This discussion article, commissioned by the Royal Musical Association Research Chronicle, uses the Béla Bartók Complete Critical Edition, inaugurated in 2016, as the basis of reconsideration of the musicological, performance-related, publishing and business aspects of today's complete editions of composers' works. Gillies looks at the characteristics of the first two Bartók edition volumes, For Children and Concerto for Orchestra, particularly their approach to the composer's use of notation, the representation of their geneses, and some interesting issues about variants, versions, alternatives, replacements, arrangements and deletions. He also considers what a dozen Henle Urtexts, issued on the basis of this complete critical edition's research, seek to present for performers, particularly in their use of Bartók's own recordings as exemplars as well as the presentation in his folk-music treatises of melodies on which these pieces are based. Gillies's consideration also reveals some of the bases of the Bartók complete edition in the post-war 'Neue Ausgabe' critical series, with some later influence from Schoenberg and Debussy editions. After looking at changes in format and related products, including thematic catalogues, and the business models that underpin many complete critical editions, Gillies evaluates the risks that may face the Bartók edition in the future, and suggests how they might best be mitigated. [ABSTRACT FROM AUTHOR]

Hexachordal invariance plays a critical role in several of Schoenberg's hexatonic-based compositions, including the Suite, Op. 29, Ode to Napoleon, Op. 41, and Modern Psalm, Op. 50c. In this article, I utilize contextual transformations in order to unveil specific types of invariant hexachordal relationships in these works—relationships that are often concealed when approached through conventional operators. The contextual transformations that I advance govern entire passages or large sections in the aforementioned compositions. In Schoenberg's final work, Modern Psalm, these contextual transformations play significant roles in text-music relations. [ABSTRACT FROM AUTHOR]

This study contributes to the investigation of formal similarities between music and language by examining commonalities between reversing operations found in language games and pitch patterns found in serial music. Our approach provides a new framework for analysing transformations in serial compositions, especially those involving pitch-class relationships between invariant hexachords. Although transformations in serial repertoire have been argued to be complex and difficult to aurally comprehend, we demonstrate that the structure of these transformations parallels language games commonly found across languages. Reference to language game patterning illustrates systematic relationships between hexachords which cannot always be related using conventional serial operators. [ABSTRACT FROM AUTHOR]

Resumo. O presente artigo aborda como as características peculiares existentes na cultura vienense no fim do século XIX fizeram com que muitos artistas e intelectuais, incluindo Schoenberg e Wittgenstein, se auto-influenciassem em um processo que culminou uma crítica radical da linguagem e da sociedade. Palavras Chave: Schoenberg, Wittgenstein, Música no Século XX, Crítica da Linguagem, Música e Linguagem, História da Música no Século XX. Abstract. In this article the author describes how some peculiar characteristics common on Viennese society at the end of the nineteenth century lead to a mutual interest in the artistical and intellectual métier about the necessity of promoting a radical critique of language and also a critique of their society. Keywords: Schoenberg, Wittgenstein, Twentieth Century Music, Critique of Language, Music and Language, Twentieth Century Music History.Recebido em: 06/06/2016 – Aceito em 18/07/2016

Albert Simon's analytical approach, or Tonfeldtheorie, is applicable to most compositions of the late nineteenth and early to mid-twentieth centuries. Pitch fields are not based on voices or voice leading; instead, individual pitches are understood as elements of a particular pitch field. The identity of pitches is partly defined systematically, partly through the sound material itself, that is, by material aspects that determine respective concrete, sensually experienceable properties. Compositions, then, are analyzed as aggregates of timbrally defined individual notes whose material identity reveals their membership in structures. [ABSTRACT FROM AUTHOR]

During a tour of Austria-Hungary in December 1910, Debussy met a young Hungarian Francophile composer, Géza Vilmos Zágon (1889-1918). The latter sent him the manuscript of the Pierrot lunaire, a cycle of six melodies from the collection of the Belgian poet Albert Giraud. Debussy reviews the vocal line, emphasizing that the corrections he has made almost all concern "prosodic accents." This rereading of a work by a young composer is a unique case for Debussy and testifies not only to his openness to young composers, but also to his interest in Giraud's poems, as André Schaeffner had so rightly anticipated in 1953 in his article "Variations Schoenberg." It also reveals Debussy's deep sensitivity to the French language verse and rhythm. [ABSTRACT FROM AUTHOR]

The need to express himself in English drew from Arnold Schoenberg a response that went far beyond the devising of terminological equivalents in his adopted language, reigniting in the process a long-cherished project published posthumously as Fundamentals of Musical Composition (1967). This article discusses the sources for that book (dating back to 1937), contextualizing them within the composer's broader theoretical output, and presenting Schoenberg's "sentence" as genus with the period and sentence as its two species —divided and undivided sentences. Reframing them as "two main forms of the sentence" enhances their underlying commonality as different manifestations of the same principles (repetition and variation). Moreover, elucidating the convoluted evolution of Satz and "sentence" permits a more creative understanding of the nuances of thematic construction than that given in the published text ("a complete musical idea or theme is customarily articulated as a period or a sentence"). [ABSTRACT FROM AUTHOR]

Arnold Schoenberg's concept of formal function, as formulated by Erwin Ratz, has become a staple of music theory since it was reimagined and systematized by William E. Caplin. However, this concept has been criticized for not speaking to the content of a piece of music, its particularity and meaning. By defining formal components, parts, and functions in line with the conceptual metaphors that underlie musical form, one may establish the inseparability of form and content. The definitions proposed here apply to art music from the eighteenth to the early twentieth centuries, the latter demonstrated through an analysis of Schoenberg's Op. 11, No. 1. [ABSTRACT FROM AUTHOR]

Inhalt ('content') is so common that it could hardly pass as a technical term. The purpose of this article is to show that from the 18th to the 20th century it was nevertheless used particularly to denote the specifically musical meaning arising from what music 'contains' of notes, rhythms, melodic cells, etc. Hegel, Marx, Hauptmann, Hanslick, Schenker, Schoenberg and probably others shared the same view that music has a content of its own, one that cannot be translated in verbal language. [ABSTRACT FROM AUTHOR]

An integral feature in many of Scriabin's late musical narratives is the presence of an atonal problem--a musical event that threatens a harmony which the piece is based on. I offer a new interpretation of Scriabin's late music, in which the idea of an atonal problem becomes a defining feature of his style (after op. 58). This atonal problem is defined as a non-chord tone, which disrupts the balance of the collection (octatonic, whole-tone, or Mystic) which the work is based on. Drawing from Schoenberg's concept of a tonal problem and from Straus's expansion of this concept in Disability Studies in music, I use Scriabin's piano miniatures to show that, within each work, a single pitch class always stands out registrally, dynamically, and/or rhythmically, and becomes an important staple of Scriabin's late style. Thus, the accommodation of this "wrong" note no longer represents that pitch class as a disruptive note, but rather it adds to the unique aspect of that work. [ABSTRACT FROM AUTHOR]

The analysis and possible figurative interpretation of the movie-on-music "One Night. One Life" (directed by O.Herrmann, Germany, 1999) are presented in the article. A synthetic audiovisual text unites the musical and lyrical text of the primary source, the vocal cycle "Pierrot Lunaire" composed by A.Schoenberg, and the video text of the director, enclosing a "counter-imagery". The proposed concept of studying this film is revealed with using a certain methodology and it realizes the subject of Personality’s psychological problems in the modern world, which are inherent to the original music text and they are considerably strengthened by the filmmaker. The artistic film discourse in the philosophicalexistential and sociological manner reveals both the ontological constancy and universality of these problems and their hypertrophy in the contemporary "society of the spectacle". Also, it leads us to the idea of the need to resist the role imposed for citizens by the established economic order.

Em "Teoria da vanguarda", de Peter Bürger, o choque é compreendido como o artifício intencional dos movimentos de vanguarda contra a autonomia do esteticismo modernista, a fim de devolver a arte à práxis vital. Adotando uma perspectiva distinta, o choque, para Adorno, expõe antes a crise da experiência da formalização do tempo decorrente da incongruência entre as forças produtivas e as relações de produção na sociedade industrial, sendo que dois caminhos artísticos distintos derivam da inflexão histórica da crise da experiência. Em Schoenberg, na esteira do que Bürger classificaria como esteticismo, o choque seria amortizado pela expansão da linguagem musical, mediante seu registro. Em Stravinsky, o procedimento mecânico de golpes rítmicos e de montagem, em consonância com a profusão de vivências do choque, surge como elemento regressivo. Os choques não seriam dispositivos críticos, mas sismogramas de reações às mudanças da consciência subjetiva do tempo na modernidade. O artigo procura enfatizar as premissas conflitantes entre Bürger e Adorno quanto à posição do conceito de choque, assim como as críticas de Bürger ao modernismo adorniano.

Houston Stewart Chamberlain's reformulation of Wagner's Judaism in Music was mentioned by Schoenberg in a number of writings, yet has not been considered thoroughly in Schoenberg scholarship. This article argues that many of Schoenberg's ideas and writings in the early 1930s, including his notion of Jewish chosenness, engage directly with Chamberlain's version of Wagner's essay. In particular, the narrative of Schoenberg's Moses und Aron and its manipulations of Biblical sources reverse Chamberlain's ideas, ascribing to Jewish artists a unique role as leaders of artistic integrity and purity, rather than as followers incapable of such purity, as Chamberlain and Wagner had suggested. [ABSTRACT FROM AUTHOR]

Theodor W. Adorno discusses Ludwig van Beethoven's Six Bagatelles, Op. 126 (1824), as exemplars of the composer's late-style music, which reflects on different dimensions of mortality, both literal and figurative. Adorno's commentary, while suggestive and pertinent for our time, is hindered by inadequate analysis. A renewed look at the Fourth Bagatelle, the darkest of the set, with the aid of Heinrich Schenker's and Arnold Schoenberg's theories lends heft and bite to Adorno's critique. [ABSTRACT FROM AUTHOR]

This article takes the notion of trauma as a starting point for an analytic and hermeneutic study of the tonal-harmonic organization of the "Song of the Wood Dove" from Schoenberg's Gurre-Lieder. It argues that the song's opening sonority (the "Wood Dove Chord") represents the Wood Dove's trauma through its dual tonal identity: while on the one hand, the chord constitutes a long-range dominant of the song's eventual tonic B[ minor, this function competes with its role as a "traumatized tonic," i.e., a distorted version of, or a dissonant substitute for, a pre-existing, more standard tonic-functioning sonority, namely the E[ that governs the first nine songs of Gurre-Lieder. This double-functional interpretation of the "Wood Dove Chord" helps elucidate both the song's internal tonal organization and its role within the larger plan of Gurre-Lieder's Part 1. [ABSTRACT FROM AUTHOR]

The article begins by looking at the general context in which the concept of meaning has been presented as residing traditionally within the notions of reference, symbol and representation and specifically whether such implicitly ontological distinctions apply to music. The Viennese revolt against this as expressed in the writings and compositions of Schoenberg, as well as the philosophical writings of Wittgenstein, indicate a possible derivation of musical meaning. Schoenberg replies to Kolisch's analysis of the Third String Quartet by suggesting that musicological analysis may help with technical indications but cannot help people see what the composition is. The question is: how does music have the effect which it has on us? The author suggests that a mere empirical analysis, musicological or scientific, will result in failure as it considers the composition merely as an object with properties. Music is, rather, an active meaning-giving operation in which temporality, as a result of the imagination, brings the composition into a unity. The imagination, the “I-Thinking art concealed in the depths of the human soul” infuses apprehension such that the “I” adopts an affective disposition to the world in terms of mood and intransitive feeling. Schoenberg's Third String Quartet expresses this precisely.

Este ensaio se insere numa pesquisa sobre a literatura entendida como lugar de cruzamento de saberes. Retomando a metáfora da Biblioteca de Babel, a leitura do romance Pedro e Paula, de Helder Macedo, constitui o lugar de interseção entre música, pintura, cinema, tradição literária.

Die Verbindungen zwischen den südosteuropäischen Musikkulturen und dem Mittelpunkt der Musikhauptstadt Wien waren schon immer wegen den politischen Strukturen sehr eng. Im Banat, als ehemaliges habsburgisches Kronland, bestehen diese Beziehungen bis in die Gegenwart. Selbst die so viel diskutierte, bekämpfte und gleichzeitig bejubelte Wiener Schule hinterließ ihre Spuren im Schaffen vieler rumänischer und deutscher Musiker aus dem Banat, wie es z.B. bei Alma Cornea Ionescu, Josef Willer, Zeno Vancea, Filaret Barbu, Stefan Ochaba der Fall war. Kennt man diese kulturpolitischen und musikalischen Hintergründe, so kann man auch besser die musikalischen Entwicklungen in diesem südosteuropäischen Raum verstehen.

Contour recursion, a pattern of ups and downs found at multiple indices in an ordinal pitch series, is proposed as a basis for melodic segmentation and a computational method. The continuous C+ matrix (CONTCOM) is introduced with a moving window of degrees of adjacency that accommodates analysis of unsegmented pitch series. CONTCOM converts an ordinal pitch series into contour slices in an abstraction of pitch space that uses contour levels instead of contour pitches. Using a CONTCOM, an algorithm implemented in MATLAB searches for recursive patterns, recognizes transformations, and compares segments of different cardinalities. An analysis of Schoenberg's op. 19, no. 4 is offered as a demonstration of these methods. [ABSTRACT FROM AUTHOR]

Using David Lewin's (1987) discussion of Schoenberg's Op. 19, No. 6 as a starting point, this article develops an analysis of all six movements of Op. 19 based on transposition networks. The analysis associates not only multiple statements of a given network but also networks related by retrograde, inversion, or both, which are said to be of the same network type. Network-type repetition elucidates pitchclass connections within phrases, between adjacent and non-adjacent phrases within the same movement, and among passages from different movements. Since Schoenberg's pattern repetitions are often somewhat hidden, the analysis identifies features of the musical surface that help to clarify the network relationships. The networks often create network chains, which are (overlapping) series of networks of the same type and provide coherent ways to hear through complete phrases and movements. Network-type chains, which involve multiple network types, organize the large-scale network structure of the entire opus. [ABSTRACT FROM AUTHOR]

Conventionally, the story of musical modernism has been told in terms of a catastrophic break with the (tonal) past and the search for entirely new techniques and modes of expression suitable to a new age. The resulting notion of a single, linear, modernist mainstream (predicated on the basis of a Schoenbergian model of musical progress) has served to conceal a more subtle relationship between past and present. Increasingly, it is being recognized that there exist many modernisms and their various identities are forged from a continual renegotiation between past and present, between tradition(s) and the avant-garde. This is especially relevant when attempting to discuss the reception of modernism outside central Europe, where the adoption of (Germanic) avant-garde attitudes was often interpreted as being "unpatriotic". The case of Great Britain is examined in detail: Harrison Birtwistle’s opera The Mask of Orpheus (1973–83) forms the focus for a wider discussion of modernism within the context of late/post-modern thought.

This article takes a close look at the concept of duration (durée), an idea that is central to Henri Bergson's philosophy of subjective time. It argues that Schoenberg's early concept of developing variation resonates with Bergson's duration in a way that enables us to shift the locus of developing variation from a musical object to a participant subject. It presents analytical readings of three pieces from Schoenberg's Sechs kleine Klavierstücke, op. 19, a collection of miniatures written when German translations of Bergson's works were published for the first time and when Bergson's popularity was especially high. [ABSTRACT FROM AUTHOR]

This article considers the chronological flow of Schoenberg's chordal atonal music, using melodic contour and other contextual features to prioritize some chordal events over others. These nonconsecutive chords are tracked and compared for their coloristic contrasts, producing an unfolding akin to Klangfarbenmelodie, but paced more like a narrative trajectory in a drama. The dramatic pacing enhances discernment of nuance among atonal dissonant chords, thereby emancipating them from subordinate obscurity to vivid distinctness. Thus Schoenberg's music is strategically configured to differentiate its own pitch material. This approach is theorized in terms of representational hierarchy association (RHA) among chords, and demonstrated in analyses of Op. 11, No. 2, Op. 21, No. 4, and Op. 19, No. 3. In support, the analyses consider: (1) the combinatorics of voicing as effecting contrasts of timbre; (2) an application of Lewin's Binary State Generalized Interval System (GIS) to melodic contour and motivic transformation based on binary-state switching; (3) Klumpenhouwer Networks to model chord-to-chord connections hierarchically; and (4) the role of pitch-class set genera (families of chords) in projecting a palindromic arch form. [ABSTRACT FROM AUTHOR]

Schoenberg's third Piano Piece op. 11 has given rise to an international controversy regarding whether its melodic materials, harmonies and rhythms are carefully worked out according to larger patterns or are by-products of expression and improvisation. Articles and books in English use Schoenberg's writings, particularly one of his 1909 letters to Busoni, to support the claim that op. 11, no. 3 was among the first of his pieces to exemplify an "intuitive aesthetic," and is relatively free from overarching formal, harmonic, rhythmic or motivic patterns. Meanwhile, German-language studies focus on detailed analysis of the piece, describing networks of motivic and harmonic relationships. My article maintains the latter point of view; but it also goes beyond existing analyses to describe a large motivic process that gives op. 11, no. 3 coherence as a whole. It takes two motivic progressions that characterize op. 11, no. 1, "expanding" and "explanatory" processes, and sets them against one another in a conflict, but with no resolution-the first process simply takes over at the end. In addition, the "expanding" process can be heard as becoming more abstract as the first piece progresses, and as moving back from abstract to concrete through the third piece. This motion from concrete to abstract and back is illustrated in another way by considering the piece's motivic progressions from the viewpoint of "minimal offset voice-leading" as described by Straus 1997 and Straus 2005. [ABSTRACT FROM AUTHOR]

This paper explores competing nationalist and internationalist influences on the music of Frank Bridge. Bridge was a performer and composer of some initial success, and later a significant figure in British modernism. This study investigates the relationship between form, nationalism, and criticism in Summer, Two Poems, and Enter Spring. It begins by identifying nationalist and internationalist themes within these works, and their impact on reception. Bridge’s treatment is shown to be increasingly incongruous, with conflicting popular and personal impulses. Summer and the first Poem show a subtly outward treatment of the nationalist genre of English Pastoralism. They hint at a more explicit internationalism that Bridge would later espouse - if not always consistently. In the more complex Enter Spring, Bridge sought to re - engage with English Pastoralism, having in recent modernist works abandoned its conventional use. Reviews were unconvinced, however, and his correspondence exposes conflicting motivations. Two conclusions are drawn: first, an irreconcilability between Bridge’s internationalism and wider British musical culture. Bridge’s attempts to satisfy both, increasingly idiosyncratic, met with little success. Secondly, a diminished accessibility resulting from these attempts. It is argued that this inaccessibility derives from the idiosyncratic combinations arising from these works' conflict between nationalism, internationalism, and modernism. [ABSTRACT FROM AUTHOR]

The rich array of publications covering music in New York City during the second two decades of the twentieth century provides a compelling account of the reception of ultra-modern music. Newspapers, arts periodicals, and, especially, monthly and weekly music magazines offer tantalizing insight into how music lovers perceived new and challenging music. Before the Great War connections to German musical traditions were strong, and ultra-modern music was mostly imported. During the war ties to Germany were largely severed and idtra-modern music was silenced. After 1918 a more egalitarian and international attitude emerged. The reception of Schoenberg's music in New York City between 1910 and 1923 illustrates the evolution of this new attitude. [ABSTRACT FROM AUTHOR]

John Cage studied with Arnold Schoenberg for virtually two years, from 18 March 1935 until January 1937. However, Cage did not immediately dismiss Schoenberg's ideas; as he asserted decades later, 'In all of my pieces between 1935 and 1940, I had Schoenbergs lessons in mind.' This essay examines Schoenberg's unique methods of teaching counterpoint in the courses Cage attended: species focusing on one cantus, polymorphous canon, pre-compositional manipulation of contrapuntal combinations, and the analysis of a composition written specifically for teaching American students, The suite in G (in old style) for string orchestra (1934). I argue that Schoenberg's notions of tonal counterpoint and the first movement of his Suite had a strong impact on Cage's handling of the fugue in his Second construction in metal, completed in January 1940, which he ultimately described as a 'poor piece', too influenced by 'theory and education'. [ABSTRACT FROM AUTHOR]

While orchestration treatises such as Egon Wellesz's Die neue Instrumentation (1928) celebrated the increasing emancipation of diverse individual instrumental timbres, some of Schoenberg's remarkably conservative twentieth-century prescriptions for orchestration prefer equalized instrumental sonorities. Instead of highlighting individual wind colors, his orchestrations of Bach's “St. Anne” Fugue and Brahms's G-Minor Piano Quartet equalize string and wind timbres through doubling to create timbral “transparency.” Describing his orchestration as “Brahmsian but up to date,” Schoenberg uses the subtle differences between various string-wind doublings to realize structural functions of harmony with a structurally functional orchestration. [ABSTRACT FROM PUBLISHER]

Women's love madness is seen in history, literature, mythology, music and psychoanalysis as a subject that leads writers, poets, historians and psychoanalysts to produce texts, stories and papers. Although much has been examined and written about this subject, open questions still remain in our clinical work. Using the concepts of devastation and jouissance as a starting point, this article invites the reader to reflect upon the feminine passionate love as linked to the devastating, unlimited and deadly jouissance. For this purpose, we will discuss fragments of Schoenberg's opera Erwartung, Opus 17. [ABSTRACT FROM AUTHOR]