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Twelve-tone Technique
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a Key (music), key. The technique was first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. Over time, the technique increased greatly in popularity and eventually became widely ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnold Schoenberg La 1948
Arnold may refer to: People * Arnold (given name), a masculine given name * Arnold (surname), a German and English surname Places Australia * Arnold, Victoria, a small town in the Australian state of Victoria Canada * Arnold, Nova Scotia United Kingdom * Arnold, East Riding of Yorkshire * Arnold, Nottinghamshire United States * Arnold, California, in Calaveras County * Arnold, Carroll County, Illinois * Arnold, Morgan County, Illinois * Arnold, Iowa * Arnold, Kansas * Arnold, Maryland * Arnold, Mendocino County, California * Arnold, Michigan * Arnold, Minnesota * Arnold, Missouri * Arnold, Nebraska * Arnold, Ohio * Arnold, Pennsylvania * Arnold, Texas * Arnold, Brooke County, West Virginia * Arnold, Lewis County, West Virginia * Arnold, Wisconsin * Arnold Arboretum of Harvard University, Massachusetts * Arnold Township, Custer County, Nebraska Other uses * Arnold (automobile), a short-lived English car * Arnold of Manchester, a former English coachbuilder * Arnold (band), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zwei Klavierstücke (Schoenberg)
''Zwei Klavierstücke'', Op. 33, also known as ''Zwei Stücke'', or in English as Two Piano Pieces and Two Pieces, is a composition for piano by Austrian composer Arnold Schoenberg. They were composed between 1928 and 1931 and were Schoenberg's last works for solo piano. Composition Schoenberg's ''Piano Pieces'' were just some of his smaller compositions that followed '' Von heute auf morgen'' and '' Moses und Aron''. He started composing the first, Op. 33a, when the director of Universal Edition contacted him to publish the first piece in Op. 11 in an anthology of piano compositions. Schoenberg then decided to write a new piece on December 25, 1928, and finished it on April 25, 1929. The composition of the second piece, however, took only three days, from October 8 to 10, 1931, while he was staying in Barcelona. The impetus for Op. 33b was a request by Schoenberg's former pupil Adolph Weiss for a new piano piece that Henry Cowell's '' New Music Quarterly'' could publish as Op. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonality
Tonality is the arrangement of pitch (music), pitches and / or chord (music), chords of a musical work in a hierarchy of perceived ''relations'', ''stabilities'', ''attractions'', and ''directionality''. In this hierarchy, the single pitch or the root (music), root of a triad (music), triad with the greatest ''stability'' in a melody or in its harmony is called the tonic (music), ''tonic''. In this context "stability" approximately means that a pitch occurs frequently in a melody – and usually is the final note – or that the pitch often appears in the harmony, even when it is not the pitch used in the melody. The ''root'' of the tonic triad forms the name given to the key (music), key, so in the key of C major, C major the note C can be both the tonic of the scale (music), scale and the root of the tonic triad. However, the tonic can be a different Musical tone, tone in the same scale, and then the work is said to be in one of the mode (music), ''modes'' of that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Felix Khuner
Felix Khuner (1906 – June 10, 1991) was the second violinist of the Kolisch Quartet. He joined the quartet, then the Wien Quartet, in 1926 when the quartet needed a new second violinist. Khuner was reluctant, but when he visited Rudolf Kolisch, he was in conversation with Arnold Schoenberg. "Does the quartet rehearse with Schoenberg?" Khuner asked. When Kolisch answered yes, Khuner agreed to join the quartet. He was also once said to have echoed Kolisch's remarks about Stravinsky's compositions as "music about music". One of the notable places he performed with the Kolisch Quartet was Stephen Foster Memorial Hall in Pittsburgh, Pennsylvania. He fled Vienna, Austria in 1938 and settled in Northern California where he joined the San Francisco Symphony Orchestra, where he would stay for 41 years. Upon the quartet's visit to Berkeley, California in the mid-1930s, Khuner chose Berkeley as the ideal place to live. He liked the cool Mediterranean climate. He met his future wife, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rudolph Reti
Rudolph Reti, also Réti (; November 27, 1885 – February 7, 1957), was a musical analyst, composer and pianist. He was the older brother of the chess master Richard Réti, but unlike his brother, Reti did not write his surname with an acute accent on the 'e'. Biography Reti was born in Užice in the Kingdom of Serbia and studied music theory, musicology and piano in Vienna. Among his teachers was the pianist Eduard Steuermann, an eminent champion of Schoenberg and a supporter of modern music. Reti was in contact with Schoenberg at the time of that composer's earliest atonal works, and in 1911 gave the first performance of his Drei Klavierstücke Op.11. Reti's compositions have not remained in the repertoire, but he was an active composer and received a number of high-profile performances. At the end of the first International Festival of Modern Music in Salzburg, in 1922, his 'Six Songs' were performed alongside Schoenberg's Second Quartet; three years later, at the 3rd ISC ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from the Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's ''Boléro'' and the '' Carol of the Bells'', and popular songs such as John Lennon’s “Mind Games” (1973), Donna Summer and Giorgio Moroder's " I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's " Baba O'Riley" (1971), The Verve's " Bitter Sweet Symphony" (1997), and Flo Rida's " Low" (2007). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term cover ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carl Ruggles
Carl Ruggles (born Charles Sprague Ruggles; March 11, 1876 – October 24, 1971) was an American composer, painter and teacher. His pieces employed "dissonant counterpoint", a term coined by fellow composer and musicologist Charles Seeger to describe Ruggles' music. His method of atonal counterpoint was based on a non- serial technique of avoiding repeating a pitch class until a generally fixed number of eight pitch classes intervened. He is considered a founder of the ultramodernist movement of American composers that included Henry Cowell and Ruth Crawford Seeger, among others. He had no formal musical education, yet was an extreme perfectionist—writing music at a painstakingly slow rate and leaving behind a very small output. Famous for his prickly personality, Ruggles was nonetheless close friends with Cowell, Seeger, Edgard Varèse, Charles Ives, and the painter Thomas Hart Benton. His students include the experimental composers James Tenney and Merton Brown. Condu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Béla Bartók
Béla Viktor János Bartók (; ; 25 March 1881 – 26 September 1945) was a Hungarian composer, pianist and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers. Among his notable works are the opera ''Bluebeard's Castle'', the ballet ''The Miraculous Mandarin'', ''Music for Strings, Percussion and Celesta'', the Concerto for Orchestra (Bartók), Concerto for Orchestra and List of string quartets by Béla Bartók, six string quartets. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became known as ethnomusicology. Per Anthony Tommasini, Bartók "has empowered generations of subsequent composers to incorporate folk music and classical traditions from whatever culture into their works and was "a formidable modernist who in the face of Schoenberg’s breathtaking formulations showed another way, forgi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexander Scriabin
Alexander Nikolayevich Scriabin, scientific transliteration: ''Aleksandr Nikolaevič Skrjabin''; also transliterated variously as Skriabin, Skryabin, and (in French) Scriabine. The composer himselused the French spelling "Scriabine" which was also the most popular spelling used in English-language publications during his lifetime. First editions of his works used the RomanizationsScriabine,Scriàbine, andSkrjábin"., group=n () was a Russian composer and pianist. Before 1903, Scriabin was greatly influenced by the music of Frédéric Chopin and composed in a relatively tonal, late- Romantic idiom. Later, and independently of his influential contemporary Arnold Schoenberg, Scriabin developed a much more dissonant musical language that had transcended usual tonality but was not atonal, which accorded with his personal brand of metaphysics. Scriabin found significant appeal in the concept of Gesamtkunstwerk as well as synesthesia, and associated colours with the various harmonic t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cell (music)
The 1957 ''Encyclopédie Larousse''quoted in Nattiez, Jean-Jacques (1990). ''Music and Discourse: Toward a Semiology of Music'' (''Musicologie générale et sémiologue'', 1987). Translated by Carolyn Abbate (1990). . defines a cell in music as a "small rhythmic and melodic design that can be isolated, or can make up one part of a theme (music), thematic context". The cell may be distinguished from the figure (music), figure or motif (music), motif: the 1958 ''Encyclopédie Fasquelle'' defines a cell as "the smallest indivisible unit", unlike the motif, which may be divisible into more than one cell. "A cell can be musical development, developed, independent of its context, as a melodic fragment, it can be used as a developmental motif. It can be the source for the whole musical form, structure of the work; in that case it is called a generative cell." A rhythmic cell is a cell without melodic connotations. It may be entirely percussive or applied to different melodic segments. His ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Atonality
Atonality in its broadest sense is music that lacks a tonal center, or key. ''Atonality'', in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. More narrowly, the term ''atonality'' describes music that does not conform to the system of tonal hierarchies that characterized European classical music between the seventeenth and nineteenth centuries. "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments". The term is also occasionally used to describe music that is neither tonal nor serial, especially the pre- twelve-tone music of the Second Viennese School, principally Alban Berg, Arnold Schoenberg, and Anton Webern. However, "as a ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elisabeth Lutyens
Agnes Elisabeth Lutyens, CBE (9 July 190614 April 1983) was an English composer. Early life and education Elisabeth Lutyens was born in London on 9 July 1906. She was one of the five children of Lady Emily Bulwer-Lytton (1874–1964), a member of the aristocratic Bulwer-Lytton family, and the prominent English architect Sir Edwin Lutyens. Elisabeth was the elder sister of the writer Mary LutyensDalton, James"Lutyens, (Agnes) Elisabeth (1906–1983), composer" ''Oxford Dictionary of National Biography'', Oxford University Press, 2004. Retrieved 8 September 2020 and aunt of the 4th Viscount Ridley and the politician Nicholas Ridley. Lutyens was involved in the Theosophical Movement. From 1911 the young Jiddu Krishnamurti was living in the Lutyens' London house as a friend of Elisabeth and her sisters. At the age of nine she began to aspire to be a composer. In 1922, Lutyens pursued her musical education in Paris at the École Normale de Musique, which had been establish ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
