Arnold Schoenberg

As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living idea, which the artist imitates in a piece of music as a manifestation or development of one particular tone by means of the motive and the key. Schenker and Schoenberg further conceive of a piece as a picture of the tone and a statement about the tone. This analysis reveals that Schenker's and Schoenberg's peculiar clashes, such as in their starkly opposed attitudes toward tonality, are the result of a mere difference in emphasis—attributable to temperament—on the absoluteness of the tone as an idea of nature versus the contingency of the artist's response to the tone in the formation of music, a contradiction inherent in both of their remarkably parallel theories. This deep unity in Schenker's and Schoenberg's musical thought invites a reassessment of the opposed historical categories of tonal and post-tonal music, which have informed our perception of a fundamental conflict between their theories and limited our perception of commonality between their theories.

An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.

This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled "The Americanization of Heinrich Schenker," William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.

This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.

The article is devoted to Karol Rathaus (1895-1954), a Polish composer of Jewish origin, whose second homeland was the United States. Like many other refugee composers, such as Arnold Schönberg, Ernst Křenek, Ernst Toch, Darius Milhaud and Paul Hindemith, he made a significant contribution as a teacher in the process of transferring European music culture to the United States. The issues sketched here involve the relationship between compositional work and the experience of its creator as an émigré.

Este texto é resultante de pesquisa de doutorado já concluída. Trata da aproximação dos conceitos de orientação do pensamento por meio da conversão, subversão e perversão apresentados por Deleuze em associação aos três principais compositores e seus métodos criativos da chamada Segunda Escola de Viena. Aqui se apresenta Schoenberg por meio da orientação da conversão, Webern pela subversão e Berg pela perversão.

A concept and implementations of an innovative HV capacitor charger system based on resonant modular converter are described. This system may function also as a DC power supply. The charger will be a part of a HV pulsed power supply in a corona discharge system for pollution control applications. The system comprises N identical modules fed in parallel and connected in series at their outputs. They are clocked by a generator of shifted pulses (for operation in a multi-phase mode), and thus the ripple both at the input and the output is decreased dramatically. The switching frequency is continuously adjusted to minimize switching losses by ensuring virtually zero-current commutation. The inverters are based on a series-resonance topology in a half-bridge inverter with energy dosage characteristic. All modules have essentially the same resonant frequency, since the resonance is formed by the leakage inductance of the HV transformer and stable film capacitors. There are two means to regulate the output voltage. Wide-range regulation is provided by modules' commutation on/off, while fine-tuning is done by the frequency regulation. Special attention was paid in designing the system to be capable of dealing with high EMI, an outcome of the electrical pulsed discharge.

Arnold Schoenberg, *Structural Functions of Harmony* (1954, 1969).

« Les Fonctions Structurelles de l’Harmonie. Ce livre contient plus de pages d’exemples musicaux – environ 90 – que de pages de texte – approximativement 85. Je considère cela comme un des avantages de ce livre. Son principe est de donner des conseils aussi courts que possible tout en les illustrant abondamment. Je le considère comme un supplément à mon HARMONIELEHRE (TRAITE D’HARMONIE) qui sera bientôt publié [en anglais]. Mais le chapitre II, un court résumé des Principes de l’Harmonie, permettra aussi aux étudiants de profiter pleinement de ce livre s’ils ont été instruits par d’autres voies.
Il contient de nombreuses nouvelles méthodes théoriques et pédagogiques que j’ai développées moi-même durant 50 années d’enseignement. Je tiens à attirer votre attention particulièrement sur l’Evaluation des Régions, chapitre IX, laquelle est particulièrement efficace pour l’analyse telle qu’elle est traitée dans le chapitre X, etc. De plus, je veux mentionner le chapitre XI qui donne des conseils théoriques et pratiques quant à l’application des progressions harmoniques aux objectifs les plus importants de la construction formelle. Enfin, il donne des descriptions et des définitions de nombreuses formes qui n’ont pas encore été étudiées. »
Arnold Schœnberg, 26 janvier 1948 (Lettre à Henry H. Wiggins)

"STRUCTURAL FUNCTIONS OF THE HARMONY. It consists of more pages of examples,--about 90--than pages of text--approximately 85--which I consider one of the merits of this book. Its principle is to give advice as short as possible but illustrate it abundantly. I consider it as a supplement to my HARMONIELEHRE (THEORY OF HARMONY) which is soon to be brought out. But in Chapter 2 a short recapitulation of the Principles of Harmony will enable also students to profit from this book if they have had a different preliminary training.
This book contains a number of new methods, theoretical and pedagogical, which in my almost 50 years of teaching have been developed by myself. May I direct your attention especially to the Evaluation of the Regions, Chapter 9, which is very effective for the purpose of analysis as can be seen in Chapter 10, etc. Furthermore I want to mention Chapter 11 which gives theoretical and practical advice for the application of harmony progressions in view of the most important purposes of formal construction. Besides there are given descriptions and definitions of a number of forms which have not yet been attempted."
Arnold Schœnberg, 26 janvier 1948 (Letter to Henry H. Wiggins)

В данное издание вошли избранные статьи из I (и пока
единственного) тома книги Пьера Булеза «Ориентиры. Воображать». Выбор статей ориентирован на представление связи
между композиторскими техниками XX века, критикой нововенской школы (додекафонии) и поэтикой сериализма. Переведенные работы
демонстрируют приоритеты Булеза по отношению к музыке и
искусству в целом. Книга рассчитана на широкий круг читателей,
интересующихся проблемами современной музыки и предварена предисловием составителя К. Чухров "От серии к расширяющейся вселенной".

Consideraciones estilísticas acerca de una de las primeras aproximaciones al serialismo de Arnold Schoenberg: la Serenata, Op. 24. Realizadas en base al análisis de estilo propuesto por el musciólogo Jan LaRue, basado en Sonido, Armonía, Melodía, Ritmo y Crecimiento.

The commedia dell’arte, an improvisatory theatrical genre with an enduring influence, hails from 16th-century Italy and has infiltrated almost every art form in varied manifestations. Stockhausen’s Der Kleine Harlekin and Schoenberg’s Pierrot Lunaire borrow extensively from the commedia dell’arte tradition, its wealth of performance practices, and evolving historical context. Each composition engages directly with this material in utilizing commedia dell’arte characters, Arlecchino and Pierrot (Pedrolino)—figures that are steeped in cultural implications and are dissociable from their theatrical conception. However, the similarities extend beyond the physicality of Stockhausen’s farcical take on commedia dell’arte in his writing for solo dancing clarinet and the dramatic subject matter of Schoenberg’s Pierrot Lunaire. Both composers weave commedia dell’arte references into the composition on a structural level and benefit from a catalogue of scripted gestures or reactions inspired by the use of lazzi, recurring physical gags, in the commedia dell’arte tradition to create characterizations in physical and musical contexts. I will analyze these similarities and present an interpretation based on research in my theatrical performance of Der Kleine Harlekin and excerpts from Pierrot Lunaire enhanced by collaboration with CCM costume designer Jillian Coratti. Specific performance elements will be analyzed referencing the use of traditional and musically transposed lazzi, the importance of the spiral as a compositional building block in Stockhausen’s oeuvre and its role in Der Kleine Harlekin, and how the overlapping concepts of progressive reality, grundgestalt, and developing variation find parallels in the stochastic composition and improvisation so necessary to the commedia dell’arte and its living tradition.

The Music Libel Against the Jews is a wide-ranging study of the historical Christian exclusion of the Jews, accused as producers of noise in a musical universe dominated by harmonious sounds.  Associating harmonies with divine grace, Christians interpreted "Jewish noise" they heard in medieval synagogues as a sign of divine abandonment. Ruth HaCohen traces the manifestations and roots of the noise accusation to a variation on the famous blood libel that spread in Europe during the Crusades, alleging that Jews kill singing Christian boys in order to silence their “intolerable” hymns and canticles. Stemming from two diametrically opposed performing practices of handling sound in ritual space, the book argues that the noise accusation records the two adversarial communities’ reciprocal rejection of each other’s sonic world.

Surprisingly, a focused study of the subject from historical, musical, aesthetic or theological perspectives has never been undertaken. Nor was it even diagnosed as a pervasive cultural phenomenon that may account for a host of texts, contexts, and subtexts addressing the mutual perceptions of Jews and Christians, in various domains and periods. Thus the book examines the dissemination and impact of this music libel from  medieval through modern times, in a variety of artistic and political contexts. Transcending the confines of church and synagogue, this study investigates the opening up of the musical sphere towards the Jews' inclusion in the wake of the Enlightenment. Acculturated Jews indeed made great efforts to integrate in that sphere, but as it turned out, they were not actually so welcomed, as old libels began to resurface. Pivotal to the Jews' struggle for aural accession are certain art works—musical, literary and pictorial—created by both "invaders" into that common audial space and by those considered its privileged "inhabitants. “ From Bach through Lessing, Handel,  Mendelssohn, and Heinrich Heine, to Richard Wagner, George Eliot, and many others, expressions and rebuttals of the noise accusation are traced and compared.  No less crucial to the story of the “noisy Jews” are modern ethnographic records of synagogues’ vocalities, by both Jews and Christians.  These records are analyzed against the massive reshaping of synagogal practices in both reform and traditional communities, all through the 19th century, in Germany and beyond. Simultaneously, the often intuitive Jewish project to emancipate noise and dissonance in the sphere of art, is viewed in this study as an integral part of European literature and music, consummated by Arnold Schoenberg, Franz Kafka and other creators of Jewish origin. The noise accusation reached a peak in Nazi propaganda films which also marks its final historical stage. The book exposes the often neglected, however crucial, role of the sonic in shaping modes of religious, communal and ethnic experience, self-perception and perception of the Other, which reinforce, if not determine, major political trends in human culture.

This expository paper examines the evolution of Arnold Schönberg’s music at the turn of the century; from his increasing use of chromaticism and free atonality, and his experimentation with novel tones and textures, to his development of the twelve tone or dodecaphonic method
in music composition; the Second Viennese School. The twelve tone technique is demonstrated with the Suite for Piano, Op. 25; Schönberg’s first published work using the method. The initial reactions of audiences to performances of Schönberg’s work were either wonder, horror, or both. Even today, there is a widespread acknowledgement that works which evolved out of this School, referred to as Serialism, are perplexing, difficult to digest, somewhat esoteric and musically elitist.

Contrary to this popular belief, this new music system has established itself in an arena of popular culture which is readily consumed by the masses. In the same way that its predecessors of the First Viennese School (Mozart, Haydn, Beethoven) were intimately linked to the opera, works developed out of techniques of the Second Viennese School (Schönberg, Webern, Berg) have found a niche in the film industry and are infused in popular movie and television sound tracks to lend dramatic effect, engage audiences, support imagery and convey a wide range of
emotion and atmosphere. Specific examples of twelve tone compositions in film scores are identified in the works of Bradley, Frankel and Goldsmith, renowned film composers, and
briefly analysed.

gode di un'ammirazione universale e sostanzialmente incontrastata, ai suoi tempi la sua fama di compositore fu forse velata da quella di organista principe, come dimostra con eloquenza il fatto, per esempio, che i costruttori di organi avvertivano l'esigenza di ricorrere non di rado ai suoi consigli.

A multifacetada carreira de Wassily Kandinsky (1866-1944) projeta desafios e provocações para o diálogo entre artes e saberes. Entre ensaio, literatura, etnografia, pintura, música e teatro, Kandinsky se move em meio a realizações estéticas e reflexões conceptuais.
Neste livro, tais aspectos multissensoriais de Kandinsky são examinados a partir de estudos preparatórios e documentação de processo criativo para um projeto interartístico específico: orquestrações para o ciclo de pinturas denominado Composições, do pintor russo.
Ao fim, o que se vislumbra é um amplo campo de experimentações que se articula a partir de diversos espaços-tempo de escrita: os traços na tela, as notas na pauta e as palavras na página.

A proposta dessa pesquisa está assentada sobre a idéia de que a atual pluralidade de linguagens artísticas pode ter sido originada na passagem do século XIX para o século XX com a necessidade de uma mudança de rumo no conteúdo do discurso artístico. Nesses termos, a aproximação proporcionada pelo ideal de síntese das artes vislumbrado por Arnold Schoenberg e Wassily Kandinsky é sem dúvida dotada de valor estético e histórico, e por isso capaz de agregar conhecimento.

The notion of 'resistibility', whereby a work is performed unsympathetically by those who are not in accord with its overall aesthetic, was propounded by Taruskin as a critique of certain performances of Beethoven's Symphony no. 9. In this dissertation it is examined in relation to Schoenberg's Piano Concerto, Op. 42, which is shown to share several features,
including an evocation of the sublime, a requirement for hermeneutic interpretation and liminality, which Taruskin suggests cause Beethoven's work to be resisted.

To examine whether Schoenberg's work is resisted in a similar way, the dissertation examines ten recordings of the work, using Hulme's distinction between the vitalist and geometrical as an overarching taxonomic background. Employing a series of empirical techniques including tempo graphs and correlation plots, the performances are assessed for their stylistic approaches against a number of signifiers of vitalist or geometrical stances, including tempo variations within and between sections, the use of tempo to mark structural divisions, and the pianists' use of tempo and dynamic to shape phrases: separate chapters discuss the conductors' and soloists' contributions respectively. The conclusion highlights any broad trends found and reaches a conclusion on whether Schoenberg's work is resisted.

This catalog of melodic and harmonic materials found in Yusef Lateef’s "Repository of Scales and Melodic Patterns" is meant as a study guide for practical and academic use.

I have listed only the materials Lateef employed as general headings and source material for the text’s many etudes and harmonic studies. I hope that this paper stimulates further inquiry into this text in particular and in Lateef's creative output in general.

This is not an analytical paper and analysis has been kept to a minimum used solely for the purpose to aid in the general understanding of the materials and how they are used within the text . This catalog could be used both with the original text and without when the original text is not practically available.

Thomas Scott McGill
6.27.16

The harmonic-functional system is based on a conception of harmony and the chords of the tonality derived from the notion of differential hierarchy, fifth relationships and functional affinity, whose consequence is the recognition of three basic functions – tonic, dominant and subdominant – and of three other secondary or derivative functions, each with two variants, which complete the rest of useful chords as secondary tonic within a given tonality.

A revision of the harmonic-functional system must begin with the very introduction of the concept of ‘function’ in musical theory and, more specifically, in musical analysis. Secondly, it is necessary to recall and discuss succinctly the same foundation of harmony, according to several authors (Rameau, Riemann, Schönberg), although focusing only on those aspects of its theoretical tradition that concern the origin of the chord, its position within the system, its typology and relationships between chords.

Finally, the paper develops a complete view of the harmonic-functional system which provides an overview of all types of chords that are studied in any academic harmony treatise, but grouped according to their function in harmonic discourse, that is, summarized under the cover of the three basic functions and their derived functions, in an organic unit that immediately gives each chord its role in speech and thus its harmonic function. In this section we will review the definition of basic functions and secondary functions, the numbering of chord sounds, movement of voices, cadential functions (dominant, dominant of the dominant and subdominant), tonicization and modulation, to end with extensions of the system that allow to use it even in the limits of the tonal system.

This paper will examine Arnold Schönberg’s influence on the modern jazz world through the teachings of one of its most influential theorists and pedagogues Dennis Sandole, mentor to John Coltrane, James Moody, Art Farmer, Jim Hall, Pat Martino, and many other important jazz artists.

This paper suggests that Schönberg’s work was a substantial influence on Sandole and that Schönberg’s compositional innovations such as the use of trichords, tetrachords and hexachords, octave displacement techniques, the use of combinatorial hexachords, chromatic completion, and the use of major thirds tonal relationships were key aspects of Sandole’s jazz improvisation and compositional pedagogy. Some of these concepts would be utilised by John Coltrane to change the musical language of modern jazz permanently.

Through analysis of all three men’s work, this paper will illustrate conceptual connections between Schönberg’s compositional practice and Sandole’s pedagogical literature which would go on to influence John Coltrane’s creative output and that of many great jazz practitioners ever since, helping to solidify Schönbergian thinking within the syntax of modern jazz.

This essay presents evidence that James Joyce was knowledgeable about — and appreciated — modernist classical music. It provides an exposition of his musical life in Zurich and Paris, from 1915 onwards, with connection to his acquaintances with the composers Phillipe Jarnach, Otto Luening, and Georges Antheil; the modern musicological theory he learned in both cities; the concerts he attended; and how this lengthy collective experience realized itself artistically during the writing of episode 11 of Ulysses (titled “Sirens”) and throughout Finnegans Wake. This research into 20th century classical music in the works of Joyce stems largely from my dissatisfaction with contemporary critical summaries of his personal taste in music. I have concerns in regard to the general critical consensus that Joyce was traditional, non-eclectic and disliked the contemporary musical avant-garde despite being an experimental modernist himself. I feel that the current evidence supporting his apparent aversion to modernist classical music is inconclusive. The writing of this essay was also instigated by the considerable shortage of biographical and critical information available on the subject. ISBN 978-608-234-073-9

Bu çalışmada 20. Yüzyıl Klasik Batı Müziğinin önemli bestecilerinden Arnold Schönberg’in Op. 17 Erwartung Operası ele alındı. Çalışma tarihsel açıdan 20. Yüzyıl başı Modernizmi ile sınırlandırıldı. Bu sayede 20. Yüzyıl içinde oldukça farklılık ve çeşitlilik göstererek evrimleşen Modernizmin tüm özellikleri göz önünde bulundurularak Arnold Schönberg’in bu akım içindeki yeri ve önemi en kapsamlı haliyle gösterilmeye çalışıldı. Erwartung Operası müzikal ve dramatik yapıları bakımından incelenirken, Modernizmin 20. Yüzyıl başındaki durumu, özellikleri ve bu özelliklerin eser üzerindeki etkileri en ayrıntılı biçimiyle irdelendi. Bu kapsamda dönemin siyasi, ekonomik ve kültürel yapısı ve etkileşimlerine özel olarak değinildi. Çalışmada, nitel araştırma yöntemi kullanıldı. Bu sayede eserin sosyolojik bir bütünlük içinde incelenmesi sağlandı. Oldukça geniş ve kapsamlı bir kaynak taraması ve incelenmesi sonrası hazırlanan çalışma konu üzerine Türkiye’deki en zengin literatür taramasına sahip araştırmalardan biri olma özelliğindedir. Arnold Schönberg’in sanatını, yaşadığı dönem ve yer üzerinden değerlendiren bu çalışma, Erwartung Operası ile bestecinin ortaya koymayı amaçladığı müzik dilini ve bu yeni müzik dilinin beslendiği düşünce ve yaslandığı felsefe dolayısıyla ortaya çıkan sanat stilini en somut ve bütünlüklü haliyle anlatmayı hedeflemiştir. Çalışma sonunda klasik opera geleneği üzerine çeşitli araştırmalar olmasına karşın modern opera geleneği üzerine yeterince araştırma yapılmadığı, özellikle Türkiye’de hak ettiği ilgiyi görmediği ortaya çıkmıştır. Türkiye’deki opera sanatı ve opera eğitimi için önemli bir başvuru kaynağı olması amaçlan bu çalışma, aynı zamanda Türkçe literatürde modern opera sanatıyla ilgili ihtiyaç duyulan eksikliği biraz olsun gidermesi umuduyla tamamlanmıştır.
Anahtar Kelimeler: Arnold Schönberg, Op. 17 Erwartung, Opera, 20. Yüzyıl, Modernizm

The paper tracks the origins of horizontal and vertical synthesis in early Schoenberg. Influenced by Wagner and Brahms, this synthesis was evidently first used in Schoenberg's Op. 7 String Quartet. This paper presents evidence that, in Op. 7, Schoenberg referenced Wagner's Prelude to Tristan und Isolde (and the Tristan chord itself), cementing its place as Schoenberg's prototypical vagrant chord that would lead to his early atonal techniques.

The following article is an adapted excerpt from a larger work about the influence of Arnold Schoenberg and The Second Viennese School on the 1960s avant-garde Jazz Multi-instrumentalist Eric Dolphy. Transcriptions of Dolphy's solos were made from his seminal 'Out to Lunch' album and copies of Dolphy's personal manuscript books were obtained from the Library of Congress in Washington, DC; these materials were studied and compared with the works and teachings of Arnold Schoenberg, Anton Webern and Alban Berg. This excerpt discusses Dolphy's use of the diminished (octatonic) scale and other eight note structures. Pitch class sets have been used to analyse the harmonic material alongside language more typically used in the analysis of Jazz and other tonal music.

Dans les "Fonctions structurelles de l'harmonie" Schoenberg mentionne régulièrement ses autres traités, par contre, il ne fait référence que très rarement à d'autres auteurs. Il est donc intéressant de les nommer ici. C'est dans le chapitre VI qu'il cite le petit ouvrage de Max Reger : "La musicologie est ici ce qu’elle devrait être : la recherche dans les profondeurs du langage musical" (p. 167-fr). L'ouvrage est téléchargeable ici en allemand, en français, en anglais et en version manuscrite.

Este trabalho demonstra uma singular representação do antagonismo entre o novo e o tradicional no começo do século XX. Será feita uma pequena contextualização do opus 11 de Arnold Schoenberg, através de criticas da época, de fatos e outras associações. Realizar-se-á uma análise da segunda peça do opus 11 de Schoenberg retratando esse antagonismo. Para enriquecer essa representação, a transcrição concertante de Busoni nos fornece elementos tradicionais que serão discutidos. Pois, os compositores teriam trocado diversas cartas comentando suas posições estéticas. Elementos como tonal e atonal, romantismo e expressionismo, inconsciente e consciente são exemplos dessas antinomias.

I. Contexto histórico Um livro como o Harmonielehre de Arnold Schoenberg tornou-se um dos clássicos, já faz décadas, sobre harmonia tonal e em especial sobre o pensamento deste grande compositor. Existem inúmeras traduções para outras línguas, o que só reforça a sua importância. De todas essas traduções, provavelmente a primeira a ter sido tentada foi a do compositor brasileiro Alberto Nepomuceno, quem em 1916, apenas cinco anos após a primeira edição do Harmonielehre, iniciou um trabalho de tradução deste livro. Infelizmente, a tradução de Nepomuceno ficou inacabada. 1 Após décadas de espera chega-nos a tradução do Harmonielehre, realizada por Marden Maluf. A tradução do Harmonielehre de Arnold Schoenberg é apresentada em um volume, muito bem produzido. Tanto o tradutor quanto a editora estão de parabéns pelo excelente trabalho realizado. Além do texto de Schoenberg, encontramos uma apresentação assinada por Flo Menezes, e um prefácio assinado pelo tradutor. Neste prefácio, o Sr. Maluf argumenta sobre o porque da tradução de Harmonielehre como Harmonia. As razões parecem ser mais práticas do que filológicas. O título do livro, Harmonie + Lehre, se refere ao uso comum, e que demonstra uma tradição, na Alemanha e na Áustria, para obras que tratam de disciplinas pertencentes à teoria musical. Esta tradição, que remonta ao final século XIX e início do XX, refere-se aos manuais práticos de música. 2 Porém, como o tradutor RESENHAS 1 Vide mais detalhes no item IV adiante, sobre a tradução de Nepomuceno. 2 Devemos lembrar que muitos destes manuais não eram somente pequenos livros cheios de regras, mas muitos eram grandes tratados sobre o pensamento de importantes musicólogos, teóricos e compositores.

This chapter aims to elucidate the relationships between design and music, appealing to the conceptual metaphor debate. It considers the epistemological importance of George Lakoff's invariance hypothesis on conventional metaphors to criticize the labor of historians of culture who focus on design, visual arts, and music connections. Given that many relevant cultural historians interpret entire historical intervals as epochal units by crossing through heterogeneous practices and assuming their discursive identity, this chapter intends to point out how methodologically conduct the historian across the study of trans-disciplinary connections. As an example, this chapter examines the String Quartet op. 7 composition process by Arnold Schoenberg. Schoenberg's musical compositions were constituted by a music theory and also by epistemic virtues based, in turn, on a metaphysical conception of art whose mayor principle is reducible into the following primary metaphor: an artwork is an organism. That metaphysical metaphor was precisely the link among different heterogeneous practices as design and music. The famous rejection of "decoration" by rejecting ornaments was founded in Schoenberg's Vienna in that particular metaphor.

justify the forum almost entirely on their own. Then there is the book. It inaugurates its own sub-discipline which reaches into several disciplines besides mainstream music theory, such as music perception and cognition, human physiology, cognitive science, film studies, cultural history--even television marketing. Of course the book invites reaction from so many angles.