Derivative Analysis and Serial Music: the Theme of Schoenberg's Orchestral Variations Op.31

Abstract

Abstract:The main objective of this paper is to investigate the derivative relations between the constituent elements of the theme of Arnold Schoenberg's Orchestral Variations Op.31 and its source of basic material or Grundgestalt, a theoretical principle elaborated by the composer. After a bibliographical revision concerned with the origins and motivations for the formulation of the concept, the paper discusses the problematic issue of the presence of thematic development in Schoenberg's serial music, taking as reference analyzes by some authors (RUFER, 1954; BOSS, 1992;HAIMO, 1997; TARUSKIN, 2010). It is also proposed that the Grundgestalt of a twelvetone piece can be manifested according to two levels, abstract and concrete, which adjusts to the analytical methodology adopted in this study, described in a specific section of the paper. The results obtained reveal an extraordinarily organic and economic thematic construction. Keywords : derivative analysis; Grundgestalt; developing variation in serial music; Arnold Schoenberg's serial music.Resumo: Este artigo tem como objetivo principal investigar as relações de derivação entre os elementos componentes do tema das Variações para Orquestra op.31 de Arnold Schoenberg) e sua fonte de material básico, ou Grundgestalt, conceito teórico elaborado pelo próprio compositor. A partir de uma revisão bibliográfica considerando as origens e motivações para a formulação do conceito, é discutida a questão sobre a presença de desenvolvimento temático em obras seriais de Schoenberg, tomando como referência análises realizadas por alguns autores (RUFER, 1954; BOSS, 1992;HAIMO, 1997; TARUSKIN, 2010). Propõe-se ainda a que a Grundgestalt de uma obra serial possa se manifestar em dois níveis distintos, porém associados -abstrato e concreto, o que se ajusta à metodologia analítica adotada neste estudo, sumarizada em

Music and Mathematics in Latin America: Major Developments in the Last 25 Years

“…Carlos Almada pursues since 2011 a research on musical variation, based on Schoenbergian principles of Grundgestalt and developing variation through incorporation of original concepts, development of new methodological procedures and, specially, computational implementation and formalization, by considering two basic axes: analysis and composition. Concerning the former approach, a number of recent works contributed to the improvement of the analytical model: a study on developing variation applied to serial music [32], a proposal for formalization of metric organization of motivic unities [105], and a deep discussion and reformulation of the theoretical-methodological basis of the research, in a doctorate thesis of one of Almada's students, Desirée Mayr [106]. In 2019 Almada envisaged a new perspective for variation, by considering it under the lens of the Transformational Theory [38,40], as well as by reinforcing the (not only metaphorical) links with biological variation [42].…”

Ética, neuroética e práticas de ensino

“…Almada also establishes limitations to what he considers the object of the neuroscience of ethics, which can be applied to the field of knowledge that uses the results of neuroscientific research to philosophically equate human behavior issues, such as those concerning our decision-making process and the formation of our social judgment 14 . The neuroscience of ethics, for him, is quite specific because it refers to the field of knowledge that deals with the impact and influence that neuroscience and neuroimaging technologies have on human life 15 .…”

“…Almada 12 cites oxytocin and how it may be dubious or directly linked to good or bad intentions of those who administer it, prescribe it, or know its effects to engage in indecent practices. Based on knowledge that can generate socially acceptable and desirable uses, it is also possible to extend it to an unacceptable use, such as neuroendocrine manipulation as a strategy used to steer relationships in the business world 28 .…”

Use of Linkage Technique in Johannes Brahms’ op. 78 and Leopoldo Miguéz’s op.14 Violin Sonatas

“…In a well-known essay entitled Brahms the Progressive, published in the book Style and Idea (1984: 398-441) 1 , Schoenberg praises the highly sophisticated Brahmsian thematic treatment, characterized by a gradual development of a group of elementary motives. It is interesting to note that, in spite of adopting Brahms as the ideal model of organic composer for his theoretical formulations, Schoenberg himself has intensely employed these principles in his music since the beginning of his professional career, as several analytical studies demonstrate (RUFER, 1954;FRISCH, 1984FRISCH, , 1993NEFF, 1984;HAIMO, 1997;COLLEEN, 2009;ALMADA, 2011ALMADA, , 2016.…”