By Jack Boss
Jack Boss takes a special method of examining Arnold Schoenberg's twelve-tone system, adapting the composer's suggestion of a 'musical thought' - challenge, elaboration, resolution - as a framework and concentrating on the large-scale coherence of the full piece. The ebook starts through defining 'musical suggestion' as a wide, overarching approach regarding clash among musical components or events, elaboration of that clash, and determination, and examines how such conflicts usually contain symmetrical pitch and period shapes which are obscured indirectly. Containing shut analytical readings of a giant variety of Schoenberg's key twelve-tone works, together with Moses und Aron, the Suite for Piano Op. 25, the Fourth Quartet, and the String Trio, the examine presents the reader with a clearer realizing of this still-controversial, tough, yet very important modernist composer.
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Additional resources for Schoenberg's Twelve-Tone Music: Symmetry and the Musical Idea
Parenthetical question marks and underlines are Schoenberg’s own. , ed. Gerald Strang and Leonard Stein (London: Faber and Faber, 1970), p. 101. Musical idea and symmetrical ideal 7 4. [Each composition] raises a question, puts up a problem, which in the course of the piece has to be answered, resolved, carried through. It has to be carried through many contradictory situations; it has to be developed by drawing consequences from what it postulates . . 11 5. I say that we are obviously as nature around us is, as the cosmos is.
In just this manner, the language of notes must also have 1) an abundance of combinations among notes; 2) correctness and order in the concatenation of the same; and 3) a speciﬁc goal. 19 But many treatises of the same time carry the terms Gedanke and Idee over to music. Generally, these terms signify a portion of a piece, most often a theme but sometimes a shorter segment. ), The Cambridge History of Western Music Theory (Cambridge University Press, 2002), p. 873). Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991), p.
Musical idea and symmetrical ideal 9 manuscript (November 12, 1925) on the subject of “representing a musical idea” tonally and as a twelve-tone piece: Compositions executed tonally in every sense proceed so as to bring every occurring tone into a direct or indirect relationship to the fundamental tone, and their technique tries to express this relationship so that doubt about what the tone relates to can never last for an extended period. This is not only the case for the individual tone, but also all tone-progressions are designed in this way, as well as all chords and chord-progressions.