Juxtaposing Popular Music in the Second String Quartet, Op. 10

Neff, Severine

doi:10.1017/9781576472828.008

Cited by 3 publications

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“…4343Neff (2009) makes a similar observation: although modules (A), (B) and (C) are duly recapitulated, they appear in keys which are tonally distant and virtually irreconcilable – F major, A major and finally the tonic C major, which enters without a dominant preparation. Of course, this C chord in first inversion still belongs to the previous E, structurally speaking, but the humorous effect proves confounding.…”

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confidence: 85%

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Brahms's ‘Musical Prose’ Reconsidered

LIU¹

2022

Music Analysis

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In the history of Brahms reception, developing variation has emerged as a central concept. Another suggestive term, musical prose, often accompanies discussions of developing variation. Schoenberg defines musical prose as ‘the direct and straightforward presentation of ideas, without any patchwork, without mere padding and empty repetitions’ ([1947] 1975, p. 414). Current scholarship supposes that developing variation ‘provides the grammar by which musical prose is created’ (Frisch 1984, p. 9). This article restructures the relationship between developing variation and musical prose because a few prose‐like pieces by Brahms exhibit almost no developing variation. These works are representative of the hitherto unacknowledged category of ‘modular discourse’. Modular discourse presents incises that are not related by a common denominator, and many of them in quick succession. In other words, modular discourse does not rely on traditional motivic/thematic workings‐out to generate new content, unlike developing variation. To demonstrate modular procedures at intra‐rotational and inter‐rotational formal levels, I analyse the Andante sostenuto of Symphony No. 1 and the Scherzo of Symphony No. 4. Both movements are cast in multiple rotations within established forms, either sonata or ternary. In addition to discussing the logic of succession from one module to the next, I trace the formal‐functional recontextualisation of modules in later rotations to explain a perceived paradox: given the lack of development – modules often return verbatim or simply transposed – what factors are responsible for the changes in expressive meaning of later rotations?

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confidence: 85%

“…33For previous discussions of the intrusive subdominant, see Neff (2009) and McClelland (2010), especially pp. 287–94.…”

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confidence: 99%

Brahms's ‘Musical Prose’ Reconsidered

LIU¹

2022

Music Analysis

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“…Alexander Goehr (1977 provided the first detailed study of the Gedanke Manuscript, ultimately concluding that it contained valuable new information but also expressing some reservations about the usefulness of producing a critical edition of the entire work. 65 Neff 2006;Neff 2009. 66 Carpenter 1983.…”

Section: Americanization?mentioning

confidence: 99%

“…The other two are envelopment (Abwicklung) and juxtaposition (Juxtaposition). See Dineen 1993 for an application of envelopment to Bach's counterpoint,andNeff 2009 andHeneghan 2009 for analytical discussions of juxtaposition in the context of Schoenberg's music.…”

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confidence: 99%

The Americanization of Arnold Schoenberg?. Theory, Analysis, and Reception

Covach¹

2018

ZGMTH

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This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense.

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Schoenberg’s Sentence

Heneghan¹

2018

Music Theory Spectrum

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Juxtaposing Popular Music in the Second String Quartet, Op. 10

Cited by 3 publications

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Brahms's ‘Musical Prose’ Reconsidered

Brahms's ‘Musical Prose’ Reconsidered

The Americanization of Arnold Schoenberg?. Theory, Analysis, and Reception

Schoenberg’s Sentence

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