The Musical Idea and the Logic, Technique, and Art of Its Presentation (Paperback) ISBN 978-0-253-21835-3

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Arnold Schönberg: The Musical Idea and the Logic, Technique, and Art of Its Presentation (Paperback)
Edited, Translated, and with a Commentary by Patricia Carpenter and Severine Neff
With a New Foreword by Walter Frisch
376 Seiten / pages, Paperback
Sprache / language: english
Verlag / publisher: Indiana University Press, Bloomington
Jahr / year: 2006
ISBN 978-0-253-21835-3

 

Beschreibung / description

The Gedanke manuscripts, from which The Musical Idea is compiled, are legendary writings of Arnold Schoenberg. Central to his concern was his concept of the “musical idea,” which represents the wholeness of the musical work and embraces Schoenberg’s notions of motive, gestalt, phrase, theme, rhythm, harmony, and form. 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.

 

Inhalt / contents

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 1 Descriptions of the Gedanke Manuscripts
Appendix 2 Contents of Manuscript No. 10, Listed in Their Original Order
Appendix 3 German Texts of Unpublished Gedanke Manuscripts Referred to in the Commentary
Notes
Bibliography
Index of Musical Examples
Name Index
Subject Index

 

Pressestimme / press reviews

». . . [this book] is the single best volume extant if one wishes to learn about the technical conception of music held by one of the greatest composers (and greatest music educators) of modern times.« (MLA Notes)

»This book is easy to read because there is no analysis without aim, no theoretical viewing without connections to genuine musical aspects.« (Eike Feβ, Besprechungen, April 2007)

 

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