It now seems necessary to follow the further development of Schoenberg and his first pupils, Berg and Webern. "Starting from their twin conceptions of the dethronement of tonality and the free use of the former 'discords', they produced a series of pieces of which the foremost characteristics were their extreme expressiveness and their extraordinary brevity."

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T20:57:07Z (GMT). No. of bitstreams: 1 Maia_IgorLeao_M.pdf: 10512597 bytes, checksum: 0ed3339e1e7b7ccc0d76bdb59d3cfeaa (MD5) Previous issue date: 2013 / Resumo: A presente dissertação de Mestrado teve como objetivo estudar o modelo de organização de timbres, Klangfarbenmelodie, proposto pelo compositor alemão Arnold Schoenberg em 1911, quando da publicação de seu livro Harmonielehre e aplicar, de maneira livre, alguns resultados desse estudo na organização timbrística em composição musical. Iniciamos o presente trabalho pelo estudo dos princípios norteadores dessa ideia e, de maneira breve, expomos o modelo científico conhecido na época para o estudo do timbre, proposto por Hermann von Helmholtz em 1863. Também examinamos a ideia de Klangfarbenmelodie através dos próprios escritos de Arnold Schoenberg e de outros autores, contextualizando nosso estudo dos pontos de vista histórico e científico. Em seguida, analisamos a obra Farben op. 16 n. 3, também de Arnold Schoenberg, com respeito a sua orquestração e organização formal, utilizando uma abordagem analítica baseada na Teoria Elementar dos Conjuntos. No último capítulo analisamos as composições de autoria própria à luz dos pressupostos trazidos pelo aspecto analítico desenvolvido durante a pesquisa / Abstract: This dissertation aimed to study the model of organization of timbres, Klangfarbenmelodie, proposed by the German composer Arnold Schoenberg in 1911 upon the publication of his book Harmonielehre and apply freely some results of this study of timbre organization in music composition. We begin by studying the guiding principles of this idea and briefly expose the scientific model known at the time for the study of timbre, presented by Hermann von Helmholtz in 1863. We also examine the idea of Klangfarbenmelodie through Schoeberg's own writings and other authors, contextualizing the research from a scientific and historical point of view. Then we analyze the work Farben op. 16 no. 3, also by Arnold Schoenberg, with respect to its orchestration and formal organization, using an analytical approach based on set theory. In the last chapter we analyze the compositions of authorship in the light of the assumptions brought by the analytical aspect of the research / Mestrado / Processos Criativos / Mestre em Música

Toward the end of his life, from 1908 to 1909, Gustav Mahler (1860-1911) composed Das Lied von der Erde (The song of the earth). This piece is a cycle of six song movements based on seven poems selected from Die chinesische Flötem - Nachdichtungen chinesischer Lyrik (The Chinese flute - free adaptation of Chinese lyric poetry) by Hans Bethge. The Chinese verse was written by Li-Po (numbers 1, 3, 4 and 5), Tchang-Tsi (number 2), and Mong-Kao-Jen and Wang-Wei (combined in number 6). Subsequently, in 1921, Arnold Schoenberg reduced the work to a simple chamber version transcription from Mahler's original massive score for full orchestra, a version completed in 1983 by Rainer Riehn. While the main melodic material in the vocal parts was maintained, the orchestral parts underwent substantial changes. This dissertation explores Mahler's reconfiguration of textual material and the setting of these texts in the orchestral medium. After consulting the various textual editions, I establish misreading and translational differences from the original Chinese through its various Western European incarnations; how and why Mahler chose the Bethge edition; what influenced his specific selection of poetry; and how these poems inform one another and the work as a whole. I also explore the crucial role of instrumentation and orchestration in text setting, and how his instrumentation of these translated "exotic" texts stands in dialogue with the nineteenth-century tradition and emergent frames of nationality. This dissertation also focuses on Schoenberg's instrumentation, arrangement, and orchestration as re-conceptualized and restructured from Mahler's original six movements. While the dissertation synthesizes the views of various scholars, many original observations will be offered, as few articles substantively consider this transcription of one of the most revered and reviled composers of the late-nineteenth century by one of the most revered and reviled composers of the twentieth-century. The transcript version from Schoenberg and Riehn succeeds in that it not only maintains the original vocal melody and Chinese text, but also presents the key musical concepts and visions from Mahler's original fully orchestrated version with limited chamber instrumentation, economical re-composition, and a minimum of means.

The real importance of the twelve-tone system would seem to lie in its structural possibilities. It combines the inherent potentialities of the theme of a movement in sonata form with those of the theme of a fugue and of variations. It creates a coherent texture throughout the single movements and the work as a whole. It is needless to say that this kind of coherence can also be achieved in serial compositions, that is, in movements in which not the full row of twelve tones, but only seven or eight or nine tones form the basic row.

This is a study of the ways in which the past is inscribed in sound. It is also an examination of the role of concert music in the invention of cultural memory in the wake of the Second World War. And finally, it is a study of the creation and early American reception of A Survivor from Warsaw, a cantata written in 1947 that became the first major musical memorial to the Holocaust. It remains uniquely significant and controversial within the larger oeuvre of its composer, Arnold Schoenberg (1874-1951). Historians interested in the chronologies and modalities of Holocaust memory have tended to overlook music’s role as a carrier of meaning about the past, while other media of commemoration have received far greater scrutiny, be they literary, cinematic, or architectural. And yet, A Survivor from Warsaw predated almost all of its sibling memorials, crystallizing and anticipating the range of aesthetic and ethical concerns that would define the study of postwar memory and representation for decades to come. It also constituted a uniquely personal memorial that may be read not only as a work of Holocaust art but also as a profoundly autobiographical document, one that sheds light on constellations of particularist identities often hidden beneath the “universalist” veil of one of the twentieth-century’s most iconic musical figures. Ultimately, this study seeks to articulate an under-examined linkage between modernism and memory, while arguing methodologically for the importance of sound in the contemporary practice of cultural history.

This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, in addition to commentary on representative vocal works supported by musical examples. A significant part of this research includes interviews with renowned singers who supply advice for practice and performance-related suggestions. In order for singers and teachers to obtain essential information regarding these solo vocal works, a complete catalog is provided. / Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research. / School of Music

Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic repetition." This analysis of Op. 34 demonstrates how the enlargement of a surface motive facilitates an understanding of the relation between the parts and the whole, which is perceived as the totality of Gedanke.

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.