Schoenberg's Transformation of Musical Language
Arnold Schoenberg is widely regarded as one of the most significant and innovative composers of the twentieth century. It is commonly assumed that Schoenberg's music divides into three periods: tonal, atonal, and serial. It is also assumed that Schoenberg's atonal music made a revolutionary break with the past, particularly in terms of harmonic structure. This book challenges both these popular notions. Haimo argues that Schoenberg's 'atonal' music does not constitute a distinct unified period. He demonstrates that much of the music commonly described as 'atonal' did not make a complete break with prior practices, even in the harmonic realm, but instead transformed the past by a series of incremental changes. An important and influential contribution to the field, Haimo's findings help not only to re-evaluate Schoenberg, but also to re-date much of what has been defined as one of the most crucial turning points in music history.
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absolute music abstract added-semitone appears atonal augmented triad bass beginning Chamber Symphony chord of fourths chord tones chordal vocabulary chromatic clear completed composer contrapuntal contrast counterpoint diatonic collection dissonant dominant seventh chord downbeat E major E-flat emphasis Example followed function G-sharp Gurrelieder half-diminished seventh chord harmonic progressions harmonic vocabulary hexachord important innovation intervallic succession leitmotifs localized consonance major triad measures melody motivic ideas ninth chord non-chord tones octave opening orchestral passage Pelleas und Melisande period phrase piano piece pitch language pitch-class set poem principal theme prominent radical referential center referential tonal center referential tonic relationships relatively repetition restatement rhythm rhythmic root position Ros´e scherzo Schoenberg’s compositional Schoenberg’s music second beat semitone significant Sketchbook sketches song sonority statement Strauss String Quartet structure suggests techniques tetrachord thematic transformation transposition triadic trichord Verkl¨arte Nacht vocal line voice Webern whole tone