Studies on the History of Musical Style |
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Page 43
Arnold Salop. NINE Schoenberg the Prophet WITH ITH ALL THAT HAS been written about the in- novations of Arnold Schoenberg , the critical significance of one fact seems to have been largely overlooked . That is , that Schoenberg was not ...
Arnold Salop. NINE Schoenberg the Prophet WITH ITH ALL THAT HAS been written about the in- novations of Arnold Schoenberg , the critical significance of one fact seems to have been largely overlooked . That is , that Schoenberg was not ...
Page 17
... Schoenberg apparently believed that this recognition would take place automatically ; he did not seem to place any value on recognizing the basic shape and its mutations . When ... Schoenberg's arguments could be 301 Schoenberg the Prophet.
... Schoenberg apparently believed that this recognition would take place automatically ; he did not seem to place any value on recognizing the basic shape and its mutations . When ... Schoenberg's arguments could be 301 Schoenberg the Prophet.
Page 19
... Schoenberg formulated his theories may well provide some indication of just how justified his position was . Perhaps the easiest of the assumptions to deal with is the one ... Schoenberg came to choose these five 303 Schoenberg the Prophet.
... Schoenberg formulated his theories may well provide some indication of just how justified his position was . Perhaps the easiest of the assumptions to deal with is the one ... Schoenberg came to choose these five 303 Schoenberg the Prophet.
Contents
FOREWORD by John W Grubbs | 7 |
INTRODUCTION | 13 |
TWO The Secular Polyphony of Guillaume | 39 |
Copyright | |
3 other sections not shown
Common terms and phrases
Arnold Schoenberg attempt Bach Bach's ballade baroque music basic bass Beethoven beginning build-up cadence cadential Cantus chorale chords climactic climax commitment composition considerable contrast course create culmination curve degree descent designed dissonance dramatic dynamic level effect element emotional energy evidence evocative Example excursion expectation flow forces formulated fugue furthermore Guillaume de Machaut harmonic harmonic rhythm Haydn impression instance intensification intensity Jacob Obrecht kind leading-tone listener Machaut major means measures melodic merely minor mood motet motion move movement musicology narrative notes obviously Ockeghem organization ostinato overtone series passage pattern phrase pitch polyphonic presented question reaction reentry resolved result rhythmic activity rise ritornello romantic scale Schoenberg second theme seems sense of drive sense of logical shape significant strong style subdominant suggest symphony Tempered Clavier tension texture thematic third tion tonality tonic trend triad Victimae paschali laudes virelais voices