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Schoenberg's Pelleas und Melisande: an exegesis and analysisHill, Christopher Cole January 1978 (has links)
No description available.
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From the ladder to the mountain : Arnold Schoenberg's religious odyssey.Shapiro, Roseline. January 1998 (has links)
The study traces Arnold Schoenberg's spiritual journey as he moves from his oratorio Die
Jakobsleiter, through his nonmusical drama Der biblische Weg to the opera Moses und Aron.
These works span the years from approximately 1915 to 1933, the period which coincides not
only with Schoenberg's religious shift from Lutheranism to Judaism but also with the
appearance of his early dodecaphonic works. It is argued that the works of this period, the
religious shift and his conception of twelve-tone serialism are all deeply and inextricably
connected. This study, with support from Schoenberg's writings, postulates that twelve tone
serialism, the technique with which the name of Schoenberg is associated, was not an
inevitable solution to the chromatic saturation of musical composition at the end of the
nineteenth century, but that it was shaped by the composer's spiritual needs and by the fact
that he lived in Europe during one of the most turbulent periods of her history.
The dissertation approaches the topic from the perspective of Schoenberg, the assimilated
Jewish artist in late-Romantic Vienna, who moves through various stages of eclectic religious
beliefs, arriving finally at an acceptance of the monotheistic concept of the Jewish God.
Various correspondences emerge between Schoenberg's religion and his music: the
artist/genius as prophet whose mission it is to elevate the people; the idea of progress and the
artist's obligation to create new art; the God Idea and prayer as it relates to the musical Idea
(the Gedanke) and ultimately the idea of One God, the Mosaic Law and the Twelve-tone
Row. / Thesis (Ph.D.)-University of Natal, Durban, 1998.
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Unity, God and music : Arnold Schoenberg's philosophy of compositional unity in trinitarian perspective /Stearns, Michelle L. January 2007 (has links)
Thesis (Ph.D.) - University of St Andrews, September 2007.
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Hearing aggregatesSamet, Sydney Bruce. January 1985 (has links)
Thesis (Ph. D.)--Princeton University, 1985. / Includes bibliographical references.
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Schoenberg's Grundgestalt principle a new approach with particular application to the Variations for orchestra, opus 31 /Phipps, Graham Howard. January 1976 (has links)
Thesis (Ph. D.)--University of Cincinnati, 1976. / Typescript. Bibliography: leaves [580]-586.
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A stylistic analysis and comparison of the solo vocal works of Arnold Schoenberg, Alban Berg, and Anton WebernBroekema, Andrew Junior, January 1962 (has links)
Thesis (Ph. D.)--University of Texas at Austin, 1962. / Vita. Bibliography: l. 341-343.
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Schoenberg's Grundgestalt and total serialism their relevance to homophonic analysis /Epstein, David. January 1900 (has links)
Thesis (Ph. D.)--Princeton University, 1968. / Typescript. Vol. 2: Musical examples. "Volumes 3-4, 'String Trio and Sonority-Variations for Orchestra' not microfilmed at request of author. Available for consultation at Princeton University Library." Includes bibliographical references (v. 1, leaves 102-104).
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Der unbergreifbare Mythos, Musik als Praxis negativer Dialektik : Eine philosophische Abhandlung zur Schönberg-Interpretation Theodor W. Adornos /Richter, Ulrich, January 1974 (has links)
Thesis--Cologne. / Bibliography: p. 169-181.
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Schoenberg's transition to atonality (1904-1908) the use of intervallic symmetry and the tonal-atonal relationship in Schoenberg's pre-atonal compositions /Yu, Pok Hon Wally, January 1900 (has links) (PDF)
Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.
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Cabaret Songs by Classical Composers During the First Half of the 20th Century: Satie, Schoenberg, Weill, and BrittenBrooks, Colleen 30 September 2010 (has links)
No description available.
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