Taste, power, and trying to understand op. 36 British attempts to popularize Schoenberg

Music and Letters

Volumn 84, Issue 4, 2003, Pages 608-643

  Earle, Ben ^a  

^a ST JOHN S COLLEGE   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949492745     PISSN: 00274224     EISSN: None     Source Type: Journal    
DOI: 10.1093/ml/84.4.608     Document Type: Article

References (88)

1. Donald Mitchell, The Language of Modem Music, new edn. (London and Boston, 1993), 26
2. Geoff Brown, 'X factor', The Times, 22 Aug. 2001, tabloid section, p. 22
3. Andrew Clements, 'BBC NOW/London Sinfonietta', Guardian, 22 Aug. 2001, p. 12
4. See H. H. Stuckenschmidt, Schoenherg: His Life, World and Work, trans. Humphrey Searle (London, 1977), 390
5. See Arnold Schoenberg, Samtliche Werke, IVA, 15, ed. Tadeusz Okuljar (Mainz and Vienna, 1975)
6. David Lewin, 'A Theory of Segmental Association in Twelve-Tone Music', Perspectives of New Music, 1 (1962), 89-116
7. George Perle, 'Babbitt, Lewin, and Schoenberg: A Critique', Perspectives of New Music, 2 (1963-4), 120-7
8. Milton Babbitt, 'Mr. Babbitt Answers', ibid. 127-32
9. and Andrew Mead, 'Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music', Perspectives of New Musk, 24 (1985), 120-57 at 140-54. It would be unfair to attribute this negative reaction to the performance. Kovacic was playing with warm tone and total conviction. And back at home with my score, I was able to verify, from a repeat broadcast, that while the orchestral contribution may have been a little rough around the edges, most of the detail was firmly in place
10. See Anthony Payne, Schoenberg (Oxford Studies of Composers; London, 1968)
11. Alexander Goehr, 'Manchester Years', in Finding the Key: Selected Writings of Alexander Goehr, ed. Derrick Puffett (London and Boston, 1998), 34
12. Ibid
13. Though Jimmy, it should be pointed out, is interested in quite the wrong kinds of music: he plays jazz trumpet and listens, or at least tries to listen, to Vaughan Williams. See John Osborne, Look Back in Anger (London, 1960), 39-48, 87-92 (jazz), and 17, 22 (VW)
14. See Alan Sinfield, Literature, Polities and Culture in Postwar Britain (Oxford, 1989), 283
15. Sinfield, Literature, Politics and Culture, 55
16. Richard Hoggart, The Uses of Literacy (Harmondsworth, 1958), 292
17. For analytical commentary, see Jonathan Cross, 'Music Theory and the Challenge of Modern Music: Birtwistle's "Refrains and Choruses'", in Anthony Pople (ed.), Theory, Analysis and Meaning in Music (Cambridge, 1994), 189-93
18. Paul Griffiths, Peter Maxwell Davies (London, 1985), 71
19. See Peter Owens, 'Revelation and Fallacy: Observations on Compositional Technique in the Music of Peter Maxwell Davies', Music Analysis, 13 (1994), 161-202 at 183, for clarification of the issues here
20. Griffiths, Peter Maxwell Davies, 151
21. Griffiths, 'On Grammar Schoolboy Music', 144
22. Griffiths, 'The High Analysis of Low Music', Music Analysis, 18 (1999), 389-435 at 404
23. Alexander Goehr, 'Guest Editorial', Musical Times, 135 (1994), 610-11 at 611
24. Hugh Wood, 'English Contemporary Music', in Howard Hartog (ed.), European Music in the Twentieth Century, rev. edn. (Harmondsworth, 1961), 145-70
25. Arnold Schoenberg, Letters, ed. Erwin Stein, trans. Eithne Wilkins and Ernst Kaiser (London, 1964), 243
26. See Arnold Schoenberg, 'My Public', in Style and Idea, ed. Leonard Stein, trans. Leo Black (London and Boston, 1984), 96-9
27. Mitchell, The Language of Modem Music, 18 n. 2
28. Hans Keller, 'No Bridge to Nowhere: An Introduction to Stravinsky's Movements and Schoenberg's Violin Concerto', Musical Times, 102 (1961), 156-8 at 157
29. Hans Keller, 'First Performances: Dodecaphoneys', Music Review, 16 (1955), 323-9
30. Mitchell, The Language of Modem Music, 26
31. Arnold Whittall, 'Schoenberg and the English: Notes for a Documentary', Journal of the Arnold Schoenberg Institute, 4 (1980), 24-33 at 31
32. See Payne, Schoenberg, 54-9
33. Whittall, Schoenberg Chamber Music, 64
34. Nicholas Cook, Music, Imagination, and Culture (Oxford, 1990)
35. See, in particular, Lawrence Kramer, 'The Politics and Poetics of Listening', Current Musicology, 50 (1992), 62-7
36. Cook, Music, Imagination, and Culture, 153
37. MacDonald, Schoenberg, pp. vii-xi
38. Theodor W. Adorno, Introduction to the Sociology of Music, trans. E. B. Ashton (New York, 1976), 4 and 5
39. Introduction to the Soaology of Music, 5 and 6; translation slightly amended
40. Adorno, Introduction, 7 and 16
41. The idea seems to owe at least something to Benjamin's theory of distraction. See Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations, ed. Hannah Arendt, trans. Harry Zorn (London, 1999), 232-4
42. Cook, Music, Imagination, and Culture, 178. Omitted here is any mention of the fact that this soundtrack also features works by such figures as Richard Strauss and Johann Strauss II (not to speak of Aram Khachaturian), which may quite possibly have held a greater appeal to listeners than the Ligeti
43. See Theodor W. Adorno and Max Horkheimer, Dialectic of Enlightenment, trans. John Gumming (London and New York, 1997), 121
44. Schoenberg, 'My Public', 99
45. See José Ortega y Gasset, 'The Dehumanization of Art', in Velazquez, Goya and the Dehumanization of Art, trans. Alexis Brown (London, 1972), 65-83
46. Bourdieu, Distinction, 6
47. See Lawrence Kramer, Classical Music and Postmodern Knowledge (Berkeley, Los Angeles, and London, 1995), 2
48. Rose Rosengard Subotnik, 'Toward a Deconstruction of Structural Listening', in Deconstructive Variations: Music and Reason in Western Society (Minneapolis and London, 1996), 172
49. Fredric Jameson, Late Marxism: Adorno, or, The Persistence of the Dialectic (London and New York, 2000), 129
50. See Adorno and Horkheimer, Dialectic of Enlightenment, 34
51. Goehr, 'Manchester Years', 34
52. Raymond Geuss, 'Art and Criticism in Adorno's Aesthetics', European Journal of Philosophy, 6 (1998), 297-317 at 307
53. See Subotnik, 'Toward a Deconstruction', 169
54. Schoenberg, Letters, 108
55. Schoenberg, 'New Music, Outmoded Music, Style and Idea', in Style and Idea, 124
56. Dunsby, Schoenberg; 'Pierrot lunaire', 75
57. Subotnik, 'Toward a Deconstruction', 170
58. Dunsby, Schoenherg: 'Pierrot lunaire', 1 and 9
59. Whittall, 'Schoenberg and the English', 31
60. Hugh Wood, 'A Photograph of Brahms', in Michael Musgrave (ed.), The Cambridge Companion to Brahms (Cambridge, 1999), 275
61. Mitchell, The Language of Modern Music, 95
62. See Wood, 'A Photograph of Brahms', 275
63. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (London and New York, 1992), 4
64. MacDonald, Schoenberg, 64-5. Dunsby cites part of this passage approvingly in Schoenberg: Pierrot lunaire, 55
65. Neighbour, 'Schoenberg', 53. This text is Neighbour's New Grove article, reissued in book form a few years after the publication of the dictionary such as to bring it 'to an immensely wider audience'
66. Neighbour, 'Schoenberg', 53
67. Christopher Wintle, 'Webern's Lyric Character', in Kathryn Bailey (ed.), Webern Studies (Cambridge, 1996), 229-63 at 249
68. David Lewin, 'Women's Voices and the Fundamental Bass', Journal of Musicology, 10 (1992), 464-82 at 469
69. Theodor W. Adorno, 'New Music, Interpretation, Audience', in Sound Figures, trans. Rodney Livingstone (Stanford, 1999), 30
70. Theodor W. Adorno, 'Arnold Schoenberg 1874-1951', in Prisms, trans. Samuel and Shierrv Weber (Cambridge, Mass., 1983), 168
71. Theodor W. Adorno, Mahler: A Musical Physiognomy, trans. Edmund Jephcott (Chicago and London, 1992), 47
72. Arnold Schoenberg, Fundamentals of Musical Composition, ed. Gerald Strang and Leonard Stein (London and Boston, 1970), 184
73. Adorno, 'Anweisungen zum Hören neuer Musik', 219
74. Adorno, Philosophic der neuen Musik, 73
75. See Adorno, Philosophie der neuen Musik, 73-4 n. 23
76. See Hans Keller, 'Rhythm: Gershwin and Stravinsky', in Essays on Music, ed. Christopher Wintle (Cambridge, 1994), 207-8
77. Adorno, 'New Music, Interpretation, Audience', 30-1
78. Payne, Schoenherg, 48
79. Roger Sessions, 'Schoenberg in the United States', Tempo, 103 (1972), 8-17 at 12
80. (1) C. Bars 3-4 are 'a contrasting, yet coherent, continuation' of bars 1-2
81. Subotnik, 'Toward a Deconstruction', 162
82. Schoenberg, 'New Music, Outmoded Music, Style and Idea', 121
83. Jameson, Late Marxism, 165
84. Adorno, Philosophie der neuen Musik, 98
85. See Theodor W. Adorno, 'Cultural Criticism and Society', in Prisms, 32
86. Subotnik, 'Toward a Deconstruction', 167
87. See Perry Anderson, 'Components of the National Culture', in English Questions (London and New York, 1992), 48-104
88. Neighbour, 'Schoenberg', 68