This study describes the integration of harmonic idiom and tonal design in Schoenberg's First Quartet, op. 7. Two general questions are answered: whether the composition should be judged by common-practice-period norms, and whether a coherent tonal structure is truly discernible. Chapter 1 first surveys the existing literature. It then describes a prime motivator of foreground chromaticism in the quartet—the chromatic surrounding of tonic and dominant pitches—and discusses two features of large-scale pitch organization applicable to Schoenberg's first-period music that contravene common-practice-period norms: tonal structure consisting of a pattern of keys, and systematic use of dual or even multiple tonics in place of monotonality. Examples illustrate three types of graphic representation of tonal duality to be used in the study. The next four chapters describe tonal process within and across the four "movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which studies Part I, reveals systematic avoidance of V-I function in the opening key, D, tonal rivalries between D and each of its two semitone-related keys, and the beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on Part II of the quartet, demonstrates continuation of the rivalry between tonics D and Dt> by their use as competing secondary tonics within the Scherzo, and the harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4, on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the furthering of the tonal plot in a section that engages in a "plagal" system of tonality, and the beginning of a large chromatic surrounding of A. Chapter 5 shows that Part IV eschews a simple relationship between the A-major tonic of the Rondo and the D-major tonic of the Coda by allowing the infiltration of elements of the Db-major collection. Chapter 6 summarizes the evidence contradicting a monotonal understanding of the composition and reviews evidence that the demonstrated multi-tonal coherence is part of the musical reality of the work. / Arts, Faculty of / Music, School of / Graduate

This thesis explores Arnold Schoenberg's use of meter in Das Buck der hangenden Garten, Opus 15. The thesis works from the premise that Schoenberg treats meter in a manner analogous to that usually associated with pitch material: meter is motivic in nature, and can be subjected to developmental techniques. The concepts of fluctuating meter and suspended meter are developed, and used to describe the music; these concepts are derived from an analogy with Schoenberg's own terms schwebende Tonalitat and aufgehobene Tonalitat (fluctuating and suspended tonality). Selected excerpts from the song cycle are analyzed. The analyses focus on issues of meter, although some pitch analysis is used to complement the discussion. / Arts, Faculty of / Music, School of / Graduate

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This study examines the relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein (the Tractatus Logico-Philosophicus, in particular), and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, theoretical conventionalism, word-to-world correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist-relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that was very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and forward-looking stream in early twentieth century intellectual history.

Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.

The purpose of this thesis is to investigate the use of isorhythm in two of Arnold Schoenburg's chamber works, the Third and Fourth String Quartets. The study of rhythm in twelve-note music has been generally relegated to a position less prominent than that held by the study of any of the other important aspects of the style. This condition is due probably to the fact that rhythm underwent less change with the advent of the twelve-note school of composition than melody, counterpoint, or harmony experienced. However, Rufer states that "rhythm has a special formal function in Schoenberg's twelve-note music, in addition to its motivic function and to that of creating subdivisions.

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Thesis (M. Mus.) -- University of Stellenbosch, 2002. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The transcriber cannot imagine how the composer would have done a similar transcription, but the intentions of the composer in the original version can be interpreted and transferred in a stylistically acceptable manner. At all times the possibilities of the instruments should be taken into consideration. Given the complex sound texture of the original version, the suggestions for a twopiano version have to incorporate the following: note length and rest length, sound colour, attack/articulation, bowing, articulation markings, effects and texture. In the assignment an explanation is given of the deviations that stem from the above factors. The awareness of these deviations necessitates a distinction between arrangement and transcription and compels the transcriber to be as faithful to the original score as possible. The explanation of deviations further provides the performer with an awareness of the artistic possibilities that the work provides. / AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die tweeklavier-literatuur. Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op 'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die instrumente moet ook te alle tye in ag geneem word. Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe, fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings, effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die artistieke moontlikhede van die werk.

This project consists of a theological exploration of unity, both divine and created, through an engagement with the writings of the composer Arnold Schoenberg (1874- 1951). It proceeds by examining Schoenberg'€˜s philosophy of unity as embodied in his compositional theory and practice, and brings to light his explicit and implicit metaphysical commitments through the lens of Arthur Schopenhauer's philosophy. A critique is offered that utilizes a vibrant tradition of contemporary trinitarian theology, drawing, in particular, upon the work of Colin Gunton. This theological critique employs 'musical space'€˜ to assist in 'sounding out€' and articulating a trinitarian and perichoretic model of unity. Thus, this thesis shows not only how theology can benefit the philosophy of music, but also how the philosophy of music can enrich and augment theological discourse. Part I examines unity from the perspective of 'particularity'˜. This inquiry traces Schoenberg's investigations into the material of music, from which he draws two conclusions: that conflict is essential to the musical material, and that the distinction between consonance and dissonance is illusory. Through adopting these assumptions into his philosophy of unity, Schoenberg unwittingly develops a theory of the many that undermines the value and integrity of material particulars. In response, this project counters with a trinitarian theology that upholds the integrity of particulars through a mutually constitutive understanding of particulars-in-relation. Part II examines unity from the perspective of 'the whole'€˜. This investigation focuses upon Schoenberg'€˜s structural principles of coherence, from which he makes three claims: that 'the whole'€˜ ('the musical idea') is distinct from the composition, that the essence of the musical idea must be expressed in every individual part within the whole, and that the primary goal of the composer is to express the musical idea. Schoenberg'€˜s construction of unity is, therefore, dependent upon privileging the one over the particular. Thus, Schoenberg'€˜s theory and practice lack the sort of unity in which the concepts of oneness and particularity are related adequately. This project proposes that a proper understanding of unity can arise only from a triune conception of being that holds oneness and particularity inseparably together: not as mutually exclusive, but as mutually constitutive.

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.