The 'prequel' to Schoenberg's Twelve-Tone Music (Cambridge, 2014), this book demonstrates that the term 'atonal' is effective in describing Schoenberg's music from 1908-21. Written for music scholars, performers and conductors, it features detailed analyses that will help them understand the core logic of some of the most difficult pieces of music.
The 'prequel' to Schoenberg's Twelve-Tone Music (Cambridge, 2014), this book demonstrates that the term 'atonal' is effective in describing Schoenberg's music from 1908-21. Written for music scholars, performers and conductors, it features detailed analyses that will help them understand the core logic of some of the most difficult pieces of music.
Jack Boss is Professor of Music Theory and Composition at the University of Oregon. His previous book, Schoenberg's Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge, 2014) received the Wallace Berry Award from the Society for Music Theory in 2015. His articles can be found in the Journal of Music Theory, Music Theory Spectrum, Perspectives of New Music, Music Theory Online, Music Analysis, Intégral, and Gamut.
Inhaltsangabe
1. Tonal oder Atonal? The complicated contradictory nature of Schoenberg's middle-period music (Op. 11 No. 1); 2. Piano pieces Op. 11 Nos. 2 and 3: The latter movements of a remarkably progressive cycle; 3. Das Buch der hängenden Gärten Op. 15 Nos. 7 and 11: basic images in two of the earliest atonal pieces; 4. Erwartung Op. 17: A Leitmotivic Opera and a 'cumulative setting' atomized; 5. Six little piano pieces Op. 19 (Nos. 2 3 and 6): musical idea and basic image in miniature; 6. Pierrot lunaire Op. 21 Nos. 1 14 and 21: basic image at the apex of its development; 7. Summary and the way forward to twelve-tone music.
1. Tonal oder Atonal? The complicated contradictory nature of Schoenberg's middle-period music (Op. 11 No. 1); 2. Piano pieces Op. 11 Nos. 2 and 3: The latter movements of a remarkably progressive cycle; 3. Das Buch der hängenden Gärten Op. 15 Nos. 7 and 11: basic images in two of the earliest atonal pieces; 4. Erwartung Op. 17: A Leitmotivic Opera and a 'cumulative setting' atomized; 5. Six little piano pieces Op. 19 (Nos. 2 3 and 6): musical idea and basic image in miniature; 6. Pierrot lunaire Op. 21 Nos. 1 14 and 21: basic image at the apex of its development; 7. Summary and the way forward to twelve-tone music.
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