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.

The Musical Idea and the Logic, Technique, and Art of its Presentation

Arts & Photography

SCHOENBERG, ARNOLD

Music

Columbia University Press

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.

The Musical Idea and the Logic, Technique, and Art of Its Presentation, New Paperback English Edition

Indiana University Press

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 condensed 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.

Structural Functions of Harmony

W.W.Norton&Company

Arnold Schoenberg’s Second String Quartet revolutionized western art music. 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.

The Second String Quartet in F-Sharp Minor: Opus 10 (Norton Critical Scores)

In a number of his early compositions, Arnold Schoenberg (1874–1951) expressed the strong emotions stirred in him by the poetry of Richard Dehmel. Among these seminal works, Verklärte Nacht (1988) stands out for the beauty and strength of its chromatic language, drawing on Wagner's advances in Tristan und Isolde for its emotional impact. The program of Verklärte Nacht is a love story. Yet, in both its content and psychology, the work clearly anticipates the innovative twentieth-century music Schoenberg himself helped to forge. Pierrot Lunaire, one of Schoenberg's best-known and most striking works, was composed in 1912. It is a music setting for solo voice and chamber ensemble of 21 poems by Albert Giraud, translated into German by the Expressionist poet Otto Erich Hartleben. In this satiric work, evoking moods that are by turns ironic, melodramatic, and sinister, Schoenberg incorporates a highly specialized use of the speaking voice, the singing-speech delivery call Sprechstimme, within an instrumental framework of jolting atonality. Both Verklärte Nacht and Pierrot Lunaire deeply influenced the development of the Second Viennese School and, in time, the course of twentieth-century music. They are reprinted here from authoritative editions.

Verklarte Nacht and Pierrot Lunaire (Dover Chamber Music Scores)

Dover Publications

Perhaps more than any other composer of his time, Arnold Schoenberg (1874–1951) influenced the course of twentieth-century music. His compositional style moved progressively from lush, late Wagnerian chromaticism to a complete break with traditional tonality, later organized theoretically as "composition with twelve tones." This systematic control of all pitches evolved into a similar serialization of all of music's elements — a revolutionary advance that dominated international composition through most of this century. This edition of two of Schoenberg's most important orchestral works invites music lovers into the first steps of the revolution he helped bring about. The symphonic poem Pelleas und Melisande (1902), based on Maurice Maeterlinck's play, reveals Schoenberg's expanding chromatic language. The Five Orchestral Pieces (1909) demonstrates the composer's daring exploration of a music that renounces motivic connections as well as tonality. Both of these groundbreaking works are presented here in authoritative editions.

Five Orchestral Pieces and Pelleas und Melisande in Full Score (Dover Orchestral Music Scores)

Even in his earliest songs, Schoenberg had begun explorations of chromaticism that would lead him away from traditional harmony and, eventually, from tonality itself. Audiences and critics did not take to these new sounds without protest. As Schoenberg himself put it, "the scandal never stopped." But despite listeners' resistance, the composer persisted on a course that in time deeply influenced the musical language of the twentieth century. Today, his songs have become an integral part of song recitals and recordings devoted to the roots of contemporary composition.This superb collection contains forty-three of the composer's most important songs, all from the turn of the twentieth century. They include Four Songs, Op. 2 (1899), Six Songs, Op. 3 (1899–1903), and Eight Songs, Op. 6 (1903–05), all set to texts by Dehmel, Keller, Nietzsche, and others; Six Orchestral Songs, Op. 8 (1903–05), set to texts by Petrarch and others, and arranged for voice and piano by Anton Webern; The Book of the Hanging Gardens, Op. 15 (1908–09), fifteen songs on texts of Stefan George; and four songs from Gurrelieder (1900–01), arranged for voice and piano by Alban Berg. Stanley Appelbaum has supplied new English translations of the texts.

The Book of the Hanging Gardens and Other Songs for Voice and Piano (Dover Song Collections)

Dover `

One of the most influential and important composers of the twentieth century, Arnold Schoenberg (1874–1951) brought remarkable new elements to modern music. His compositional style moved progressively from lush, late Wagnerian chromaticism to a complete break with traditional tonality, later organized theoretically as "composition with twelve hours." This systematic control of all pitches evolved into a similar serialization of all of music's elements — a revolutionary advance that dominated international compositions through most of this century. This new volume presents two major early chamber works in an attractive study-score edition. The String Quartet No. 1, Op. 7, while still showing the Wagnerian influence evident in such early masterpieces as Verklärte Nacht, displays an advanced chromaticism that is developed even further in the String Quartet No. 2, Op. 10. More radical in its structure and harmonic design, this work pushes music to the brink of atonality, pointing the way to Schoenberg's radical innovations. Even more striking in its design is the unexpected addition of a soprano in the second quartet's third and fourth movements — settings of two poems by Stefan George ("Litanei" and "Entrücking"). All students of twentieth-century music will want to add this attractive, authoritative edition to their library of music scores.

String Quartets Nos. 1 and 2 (Dover Chamber Music Scores)

A revolutionary force in twentieth-century music, Arnold Schoenberg moved progressively from lush, late Wagnerian chromaticism to a complete break with traditional tonality, making possible previously unimagined methods of composition and combinations of sounds. This edition of one of his most important orchestral works invites music devotees to retrace the first steps of the revolution he helped initiate. Possessing a soloistic texture and variations in instrumental color defined by Grove's as "chamber music for full orchestra," this work demonstrates the composer's daring explorations in music that renounces motivic connections as well as tonality. The groundbreaking Five Orchestral Pieces (1909) reproduced here from the authoritative C. F. Peters edition, appears with bar-numbered movements. Ideal for study in the classroom, at home, or in the concert hall, this affordable, high-quality, conveniently sized volume will be the edition of choice for musicians, music students, and music lovers alike.

Five Orchestral Pieces (Dover Miniature Music Scores)

Music Scores

This ambitious work by one of the 20th century's great musical innovators calls for five solo voices, a speaker, three male choruses, and an eight-part mixed chorus. Schoenberg based his monumental achievement on a German translation of a poem by the Danish writer Jens Peter Jacobsen. This comprehensive edition features the original text of Songs of Gurre, as well as a German singing translation and a new English translation.

Gurrelieder for Soloists, Chorus and Orchestra (Dover Music Scores)

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