A reissue of a classic that represents the culmination of over 40 years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America. For his classes, he developed a manner of presentation in which "every technical matter is discussed in a very fundamental way, so that at the same time it is both simple and thorough". This book can be used for analysis as well as for composition. On the one hand, it has the practical objective of introducing students to the process of composing in a systematic way, from the smallest to the largest forms on the other hand, the author analyzes in detail, with numerous illustrations, those particular sections in the works of the masters which relate to the compositional problem under discussion.

This text contains Arnold Schoenberg's thoughts on classical and romantic harmony. It presents a resume of the principles of the "Theory of Harmony", then demonstrates the concept of "monotonality". The music examples range from the entire development sections of classical symphonies. Ninety integrated music examples range fromthe entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger and his own early music.

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.

This treatise relates Schoenberg's concept of the musical idea. It defines his thought on gestalt, motive, grundgestalt, phrase, rhythm and accent, the construction function of harmony, homophonic and contrapuntal forms, and compositional coherence.

Revised Edition

This book is Schoenberg's last completed theoretical work and represents his final thoughts on the subject of classical and romantic harmony. The earlier chapters recapitulate in consensed form the principles laid down in his Theory of Harmony; the later chapters break entirely new ground, for they analyze the system of key relationships within the structure of whole movements and affirm the principle of "monotonality," showing how all modulations within a movement are merely deviations from, and not negations of, its main tonality.

Schoenberg's argument is supported by music examples, which range from entire development sections of classical symphonies to analyses of the experimental harmonic progressions of Strauss, Debussy, Reger, and Schoenberg's own early music. The final chapter, "Apollonian Evaluation of a Dionysian Epoch," discusses the music of our time, with particular reference to the possibility of new methods of harmonic analysis.

Structural Functions of Harmony is a standard work on its subject and provides an invaluable key to the development of musical structure during the last two hundred and fifty years. This new edition, with corrections, a new preface, and an index of subject headings, has been prepared under the editorial supervision of Leonard Stein.

For nearly a century, it has inspired composers, scholars, critics, performers, and visual artists.  Severine Neff re-creates for her readers the quartet's historical, cultural, and musical background–its introduction of the human voice, its genesis during a personal crisis in the composer's life, the scandal at its premiere, and its endlessly controversial reception, both critical and analytic.  This volume includes a newly edited, authoritative score of the quartet, as well as previously unavailable and newly translated texts by Grant Chorley. "Indispensable for understanding one of the central compositions of the twentieth century."—Walter Frisch, Columbia University.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Pelleas Und Melisande: Symphonische Dichtung F�r Orchester Op.5 Arnold Schoenberg Universal Edition, 1920 Music; Genres & Styles; Classical; Music / Genres & Styles / Classical; Music / Songbooks; Symphonic poems

Additional Authors Include Edwin Gerschefski, Richard F. Goldman, Alberto Ginastera And Others. Edited By Minna Lederman, Frani Muser, And Donald Fuller.

One of the most influential collections of music ever published, "Style and Idea" includes Schoenberg's writings about himself and his music as well as studies of many other composers and reflections on art and society. There is an interpretive essay by Joseph Auner, Chair and Professor of Music at Tufts University, that augments this anniversary edition.

The Gedanke manuscripts, from which The Musical Idea is compiled, are legendary writings of Arnold Schoenberg. Central to his concern was his concept of the "musical idea," which represents the wholeness of the musical work and embraces Schoenberg s notions of motive, gestalt, phrase, theme, rhythm, harmony, and form. Ultimately, the musical idea is the vision of the composer by which a musical work achieves unity in relation to the means by which the work is comprehended in its unity by the listener."

There is a new critical foreword by Walter Frisch, H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University, that expands this centennial edition. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.