No description available.

No description available.

Arnold Schoenberg viewed himself as an extension of the German Romantic tradition. Schoenberg's early unpublished songs prove his indebtedness to nineteenth century music, but they also show a great deal that is strictly Schoenbergian. This paper investigates the musical elements that Schoenberg assimilated from tradition, especially from the great Lied tradition of the nineteenth century. lements that may be associated with his later works are also investigated, namely the 2rundgestalt principle, and his use of the "primal cell," a trichord set that appears in works of all his periods. This paper shows how these elements are manifested in seven early songs. These songs are from the Nachod collection, an assemblage of correspondence and early unpublished music manuscripts by Schoenberg. This collection is owned by North Texas State University.

O projeto pretende demonstrar que em obras do primeiro período composicional de Cláudio Santoro ocorre uma mistura de escrita estritamente serial e passagens organizadas contextualmente e livremente estruturadas. Pretende-se esclarecer tal atribuição,principalmente, por meio dos conceitos de conclusão cromática, série e agregado. A base para o presente projeto são as obras do autor focalizado escritas entre 1939-1947 e os Opp. 23-25 (1920-1923), de Arnold Schoenberg. / This thesis intends to demonstrate that in Cláudio Santoro´s works from his first compositional period, a mix of stricted serial writing and passages contextually organized and freely structured occur. It is intended to clarify this attribution mainly through the concepts of harmonic completion, series and aggregation. The basis to this project are the studied composer´s works written between 1939 and 1947 and Arnold Schoenberg´s Opp. 23-25 (1920-1923).

Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works. / This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.

No description available.

A revision of the author's thesis, Marburg, 1968. / Bibliography: p. 205-214.

Thesis (Ph. D.)--Princeton University, 1981. / Typescript. "This essay and the Chamber concerto together constitute the dissertation but are otherwise inrelated." Includes the author's Chamber concerto, for flute, clarinet, violin, violoncello, and piano (1 ms. score (73 p.)). Includes bibliographical references (leaf 114).

Thesis (Ph. D.)--Indiana University, 2004. / Computer printout. Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0021. Chair: Marianne C. Kielian-Gilbert. Includes bibliographical references (leaves 242-254), abstract, and vita.

O projeto pretende demonstrar que em obras do primeiro período composicional de Cláudio Santoro ocorre uma mistura de escrita estritamente serial e passagens organizadas contextualmente e livremente estruturadas. Pretende-se esclarecer tal atribuição,principalmente, por meio dos conceitos de conclusão cromática, série e agregado. A base para o presente projeto são as obras do autor focalizado escritas entre 1939-1947 e os Opp. 23-25 (1920-1923), de Arnold Schoenberg. / This thesis intends to demonstrate that in Cláudio Santoro´s works from his first compositional period, a mix of stricted serial writing and passages contextually organized and freely structured occur. It is intended to clarify this attribution mainly through the concepts of harmonic completion, series and aggregation. The basis to this project are the studied composer´s works written between 1939 and 1947 and Arnold Schoenberg´s Opp. 23-25 (1920-1923).