Unveiling Schoenberg's op. 33b

Alegant, Brian

doi:10.1525/mts.1996.18.2.02a00010

Cited by 3 publications

(14 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Bars 5b–10a (shown as the first part of Ex. ) are designated as the continuation of the piece's opening sentence, that is, the final phrase of the A 1 section, by Alegant (, pp. 145–6); but Hyde just as confidently labels these same bars as the ‘second, contrasting theme’ (, p. 69).…”

Section: Exmentioning

confidence: 99%

“…Schoenberg, Piano Piece Op. 33b, bars 1–5a, presentation and repetition of section A 1 (Alegant ) or first theme (Hyde ); score excerpt used by permission of Belmont Music Publishers, Los Angeles…”

Section: Exmentioning

confidence: 99%

“…33b follows. I will show how the trichordal partitioning scheme of bars 5b–10a is first elaborated to create a section, specifically bars 21–28, that both Hyde and Alegant acknowledge as contrasting: Alegant calls it B 1 or second theme (, pp. 156–61), and Hyde characterises it as ‘development of the second theme’ (, p. 70).…”

Section: Exmentioning

confidence: 99%

“…The formal chart for this piece is difficult to draw because of the ways in which it simultaneously both affirms and denies qualities of conventional tonal forms. Some prior accounts of the piece's form have characterised it as a rondo (for example, Alegant , pp. 144–5, and one of the interpretations given in Lefkowitz , pp.…”

Section: Formal Chart For Op 33bmentioning

confidence: 99%

“…Though the partition scheme itself is not symmetrical, numerous pitch and pitch‐class elements of it are. Alegant (, p. 147) has shown that the first and fourth pitch classes of the two right‐hand tetrachords form a pitch‐class palindrome, <11,10,10,11> (indicated by bold pc numbers on my pitch‐class map). Schoenberg brings this pattern out by highlighting the latter two pitch classes of this mirror with dynamic swells.…”

Section: Detailed Section‐by‐section Accountmentioning

confidence: 99%

See 4 more Smart Citations

Schoenberg's Opus 33B and the Problem of its Contrasting ‘Continuation’ and Second Theme

Boss¹

2018

Music Analysis

View full text Add to dashboard Cite

Schoenberg's Piano Piece Op. 33b can be interpreted fruitfully using the composer's notion of ‘musical idea’, in which a problem or conflict is introduced at the beginning, elaborated during the piece and resolved near the end. Previous studies of the piece disagree about whether bars 5b–11a should be understood as the continuation of the first theme's sentence or as a second theme, because of differences between the tetrachordal row partitions of bars 1–5a and the trichordal partitions of bars 5b–11a, and the marked dissimilarities in set‐class content, interval successions (including <−2, −2> in the trichordal partitions), rhythm and heard metre that result. These differences introduce the work's ‘problem’, which the piece then elaborates in bars 21–28 by taking an element from the transitional bars following the ‘continuation’, <+2, +2> and <−2, −2> interval successions paired together in vertical symmetry, and further developing that element to create hexachords that are not equivalent to contiguous hexachords of the source row. The solution to the problem occurs gradually after bar 32, in two ways: first, the set classes, interval successions, pitches and rhythms associated with each kind of partition are shown to be generable by the other partition; second, after bar 57 both kinds of partition project themselves simultaneously on a single row form, demonstrating intervallic, pitch and rhythmic similarities between the elements of the contrasting partitions.

show abstract

Section: Exmentioning

confidence: 99%

Section: Exmentioning

confidence: 99%

Section: Exmentioning

confidence: 99%

Section: Formal Chart For Op 33bmentioning

confidence: 99%

Section: Detailed Section‐by‐section Accountmentioning

confidence: 99%

See 3 more Smart Citations

Schoenberg's Opus 33B and the Problem of its Contrasting ‘Continuation’ and Second Theme

Boss¹

2018

Music Analysis

View full text Add to dashboard Cite

show abstract

Octatonicism inLuigiDallapiccola'sTwelve‐NoteMusic

Alegant

Levey

2006

Music Analysis

Self Cite

View full text Add to dashboard Cite

This survey addresses perhaps the least‐known aspect of Luigi Dallapiccola's twelve‐note music, namely the composer's preference for octatonic collections. Part I summarises the different arrangements of octatonic hexachords that are possible within a twelve‐note context. Parts II–IV then examine some of the octatonic characteristics which recur across a number of specific works, several of which have not previously been the subject of critical attention. Octatonicism is thereby revealed as a consistent feature of Dallapiccola's harmonic language that runs throughout his twelve‐note canon.

show abstract

Partitional Harmony: The Partitioning of Pitch Spaces

Feitosa¹

2020

MusMat

View full text Add to dashboard Cite

In this preliminary work, we seek to present a brief historical review of the use of partitions in music, to provide a concise introduction to the theory of partitions, and lastly, through an extensive bibliographic revision and a thoughtful theoretical reflection, to lay the foundations of what we call partitional harmony - a comprehensive harmonic conception which relates the theory of partitions to several fields of post-tonal music theory. At the end, some basic operations (pitch, transposition, inversion, and multiplication) are defined and an illustrative musical application is provided, followed by our research prospects.

show abstract

Unveiling Schoenberg's op. 33b

Cited by 3 publications

References 0 publications

Schoenberg's Opus 33B and the Problem of its Contrasting ‘Continuation’ and Second Theme

Schoenberg's Opus 33B and the Problem of its Contrasting ‘Continuation’ and Second Theme

Octatonicism inLuigiDallapiccola'sTwelve‐NoteMusic

Partitional Harmony: The Partitioning of Pitch Spaces

Contact Info

Product

Resources

About