Schoenberg as Theorist: Three Forms of Presentation

Neff, Severine

doi:10.1515/9781400831937.55

Cited by 22 publications

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“…There is also a third method of connecting small parts called 'stringing together' (Aneinanderreihung). See especially Schoenberg, "Der musikalische Gedanke," 4-5;Neff 1999, 67-72. 105 Schoenberg 1967, 200n1.…”

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Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid

Arndt

2019

ZGMTH

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This article follows on the heels of one by Holly Watkins, who argues that music, "a subsystem of the social system of communication," can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the "internal recursiveness" of musical works, their external "recursiveness vis-à-vis other music," and-crucially-"the knowingness the music displays toward its own operations." I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of J. S. Bach's Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom. Dieser Artikel folgt einem Essay von Holly Watkins, in dem die Autorin argumentiert, dass Musik, »a subsystem of the social system of communication«, das Organische (das Körperliche und das Psychische) nicht durch die Bildung einer in sich geschlossenen Einheit von Teilen und Ganzem, sondern durch die »internal recursiveness« von Musikwerken, ihre äußere »recursiveness vis-à-vis other music« und-was entscheidend ist-durch »the knowingness the music displays toward its own operations« hervorrufen kann. Ich übernehme die Voraussetzung, dass Musik das Organische nicht durch rekursive Prozesse in einzelnen Systemen, sondern durch die quasi-intentionale Integration solcher Prozesse in mehreren Systemen am anschaulichsten hervorruft, von denen ich mich insbesondere mit dem harmonischen, kontrapunktischen und formalen Bereich (oder, genauer gesagt, dem motivischen) beschäftige. Ich biete Korrekturen zu den organizistischen Theorien von Arnold Schönberg und Heinrich Schenker an, die diese Bereiche ebenfalls betreffen, und insbesondere zu ihrer Rezeption. Darüber hinaus erforsche ich diese Richtung durch eine Analyse von J. S. Bachs Präludium Nr. 7 in Es-Dur aus Buch 1 des Wohltemperierten Klaviers, BWV 852, einem einzigartigen Stück, das sich wie eine unergründliche Blüte forttreibt.

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Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid

Arndt

2019

ZGMTH

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Tonality

Tymoczko

2023

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This encyclopedic book proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Its core innovation is a collection of simple geometrical models describing the implicit knowledge governing a broad range of music-making, much as the theory of grammar describes principles that tacitly guide speaking and writing. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody. These are flanked by two largely analytical chapters on rock harmony and Beethoven. Wide-ranging in scope, and with almost seven hundred musical examples from the Middle Ages to the present day, it weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first-century theory of music.

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Tymoczko

2023

Tonality

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Schoenberg as Theorist: Three Forms of Presentation

Cited by 22 publications

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Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid

Schoenberg – Schenker – Bach. A Harmonic, Contrapuntal, Formal Braid

Tonality

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