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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.
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.
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The Rite of Spring at 100 (Hardcover)
Severine Neff, Maureen Carr, Gretchen Horlacher; Foreword by Stephen Walsh; As told to John Reef; Contributions by …
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When Igor Stravinsky's ballet Le Sacre du printemps (The Rite of
Spring) premiered during the 1913 Paris season of Sergei
Diaghilev's Ballets Russes, its avant-garde music and jarring
choreography scandalized audiences. Today it is considered one of
the most influential musical works of the twentieth century. In
this volume, the ballet finally receives the full critical
attention it deserves, as distinguished music and dance scholars
discuss the meaning of the work and its far-reaching influence on
world music, performance, and culture. Essays explore four key
facets of the ballet: its choreography and movement; the cultural
and historical contexts of its performance and reception in France;
its structure and use of innovative rhythmic and tonal features;
and the reception of the work in Russian music history and theory.
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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."
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