This book is full of essays which Arnold Schoenberg wrote on style
and idea. He talks about the relationship to the text, new and
outmoded music, composition in twelve tones, entertaining through
composing, the relationship of heart and mind in music, evaluation
of music, and other essays. Arnold Schoenberg (13 September 1874 13
July 1951) was an Austrian and later American composer, associated
with the expressionist movement in German poetry and art, and
leader of the Second Viennese School. He used the spelling
Schonberg until after his move to the United States in 1934
(Steinberg 1995, 463), "in deference to American practice" (Foss
1951, 401), though one writer claims he made the change a year
earlier (Ross 2007, 45). Schoenberg was known early in his career
for successfully extending the traditionally opposed German
Romantic traditions of both Brahms and Wagner, and later and more
notably for his pioneering innovations in atonality. During the
rise of the Nazi party in Austria, his music was labeled, alongside
swing and jazz, as degenerate art. In the 1920s, he developed the
twelve-tone technique, a widely influential compositional method of
manipulating an ordered series of all twelve notes in the chromatic
scale. He also coined the term developing variation, and was the
first modern composer to embrace ways of developing motifs without
resorting to the dominance of a centralized melodic idea.
Schoenberg's approach, both in terms of harmony and development, is
among the major landmarks of 20th century musical thought; at least
three generations of composers in the European and American
traditions have consciously extended his thinking and, in some
cases, passionately reacted against it. Schoenberg was also a
painter, an important music theorist, and an influential teacher of
composition; his students included Alban Berg, Anton Webern, Hanns
Eisler, and later John Cage, Lou Harrison, Earl Kim, Wayne Barlow,
and many other prominent musicians. Many of Schoenberg's practices,
including the formalization of compositional method, and his habit
of openly inviting audiences to think analytically, are echoed in
avant-garde musical thought throughout the 20th century. His often
polemical views of music history and aesthetics were crucial to
many of the 20th century's significant musicologists and critics,
including Theodor Adorno, Charles Rosen, and Carl Dahlhaus.
Schoenberg's archival legacy is collected at the Arnold Schonberg
Center in Vienna.
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