Schoenberg as theorist: Three forms of presentation

Schoenberg and His World

Volumn , Issue , 2012, Pages 55-84

  Neff, Severine ^a  

^a UNIVERSITY OF NORTH CAROLINA   (United States)

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EID: 84924931884     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (29)

1. Arnold Schoenberg, Style and Idea, ed. Leonard Stein (New York, 1975), pp. 91-92 (henceforth SI-, further references will be given in text).
2. Alban Berg, "Why is Schoenberg's Music So Hard to Understand?" in Schoenberg, Webern, Berg: The String Quartets (Hamburg, 1971), pp. 20-30
3. Carpenter, "Grundgestalt as Tonal Function," Music Theory Spectrum 5 (1983): 15-38
4. Alexander Goehr, "Schoenberg and Karl Kraus: The Idea Behind the Music," Music Analysis 4 (1985): 59-71
5. Philip Herschovitch, "On Bach's F-Minor Invention," in 0 Muzikt (About Music) (Moscow, 1991), pp.190-213
6. Erwin Ratz, Einführung in die musikalische Formenlehre (Vienna, Rudolph Reti, The Thematic Process in Music (1951; repr. Westport, Conn., 1978)
7. Rufer, Composition with Twelve Notes Related Only to One Another, trans. (London, 1954)
8. Erwin Stein, Orpheus in New Guises (London, 1953)
9. Edward Steuermann, The Not Quite Innocent Bystander: Writings of Edward Steuertnann, Steuermann, David Porter, and Gunther Schuller (Lincoln and London, 1989)
10. Anton Webern, The Path to the New Music, ed. Willi Reich, trans. Leo Black (Bryn Mawr, Penna., 1963)
11. Adolph Weiss, "The Lyceum of Arnold Schoenberg," Modern Music 9/3 (1932): 99-107.
12. For discussions of the nature and theory of the artwork, see Arnold Schoenberg, The Musical Idea and the Logic, Technique, and Art of Its Presentation, ed. Carpenter and Severine Neff (New York, 1995), pp. 7-10, 92-93, 114-15 (henceforth MI\ further references will be given in the text).
13. Letter of 1931 cited in Bryan Simms, Review of Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter, Music Theory Spectrum 4 (1982): 160.
14. Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Berkeley and Los Angeles, 1978), p. 27 (henceforth TH; further references will be given in the text).
15. Arnold Schoenberg, Structural Functions of Harmony, 2nd ed., ed. Leonard (New York, 1969), p. 19. (henceforth SFH\ further references will be given in the text).
16. Rufer, Composition, p. 32.
17. Arnold Schoenberg, Models for Beginners in Composition (New York, 1943)
18. Arnold Schoenberg, "My Subject: Beauty and Logic in Music." See Jean and Jesper Christensen, From Arnold Schoenberg's Literary Legacy: A Catalogue (Warren, Mich., 1988), p. 99.
19. Compare Frisch, Brahms and the Principle, pp. 113-16.
20. See also Songtaik Ahn- Kwon, "Brahms's C-Minor String Quartet, Op. 51, no. 1: Schoenberg's Analytic Methods," The Journal of the Institute for Western Music Research [Seoul National University] 105-20.
21. Josef Rufer, The Works of Schoenberg, trans. Dika Newlin (New York, 1962), p. 125.
22. See Edward Timms, Karl Kraus, Apocalyptic Satirist (New Haven, 1986), pp. 225-26.
23. Arnold Schoenberg, "Rigoletto and the Kammersymphonte: An Analysis"; see no. 175b, in Rufer, Works, p. 161. The manuscript is catalogued with Schoenberg's "Gedanke" manuscripts, Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre, counterpoint texts. See ZKIF, Appendix 3, p. 122.
24. For a discussion of contrapuntal combination in Schoenberg's works, see P. Murray Dineen, "The Contrapuntal Combination: Schoenberg's Old Hat," in Music Theory and the Exploration of the Past, ed. Hatch and Bernstein, pp. 435-71.
25. The analysis is dated October 12, 1986. The illustrations in this article are my own. Compare Erwin Ratz's approach: Ratz, Einfuhrung, pp. 45-57.
26. Arnold Schoenberg, Fundamentals of Musical Composition, ed. Gerald Strang Leonard Stein (New York, 1967), pp. 58, 152.
27. Arnold Schoenberg, "Fuga-Flucht," M(idling, 1/10/24; manuscript no. 78a in Schoenberg's catalogue, no. 39, in Rufer, Works, p. 166.
28. Arnold Schoenberg, "Der musikalische Gedanke, seine Darstellung und Durchführung" ("The Musical Idea: its Presentation and Development"), 3; no. 3a: b in Rufer, Works, p.137 (translation by Charlotte M. Cross).
29. Rufer, Works, Plate 25, p. 112.