Schoenberg's Transformation of Musical Language
Schoenberg's Transformation of Musical Language
$53.00
USDArnold 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 re-evaluate Schoenberg, but also to re-date much of what has been defined as one of the most crucial turning points in music history.
- Chronological presentation of the material allows the reader to follow the path of evolution of Schoenberg's music
- Includes many music examples, enabling the reader to follow specific examples of the features under discussion
- An original perspective on Schoenberg's works, supplemented by use of biographical evidence
Reviews & endorsements
'… impressive book … Haimo argues his case compellingly.' Alfred Cramer, Journal of the American Musicological Society
Product details
November 2009Paperback
9780521122740
444 pages
244 × 170 × 23 mm
0.7kg
Available
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 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 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.
