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Suite For Piano (Schoenberg)
Arnold Schoenberg's Suite for Piano (German: ), Op. 25, is a 12-tone piece for piano composed between 1921 and 1923. The work is the earliest in which Schoenberg employs a row of "12 tones related only to one another" in every movement: the earlier ''5 Stücke'', Op. 23 (1920–23) employs a 12-tone row only in the final waltz movement, and the ''Serenade'', Op. 24, uses a single row in its central ''Sonnet''. The basic tone row of the suite consists of the following pitches: E–F–G–D–G–E–A–D–B–C–A–B. In form and style, the work echoes many features of the Baroque suite. There are six movements: A typical performance of the entire suite takes around 16 minutes. In this work, Schoenberg employs transpositions and inversions of the row for the first time: the sets employed are P-0, I-0, P-6, I-6 and their retrogrades. Arnold Whittall has suggested that " e choice of transpositions at the sixth semitone—the tritone—may seem the consequence of a desire ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schoenberg - Op
Arnold Schoenberg or Schönberg (, ; ; 13 September 187413 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was associated with the expressionism, expressionist movement in German poetry and art, and leader of the Second Viennese School. As a Jewish composer, Schoenberg was targeted by the Nazi Party, which labeled his works as degenerate music and forbade them from being published. He immigrated to the United States in 1933, becoming an American citizen in 1941. Schoenberg's approach, bοth in terms of harmony and development, has shaped much of 20th-century musical thought. Many composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. Schoenberg was known early in his career for simultaneously extending the traditionally opposed German German Romanticism, Romantic styles ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eduard Steuermann
Eduard Steuermann (June 18, 1892 in Sambor, Austro-Hungarian Empire – November 11, 1964 in New York City) was an Austrian (and later American) pianist and composer. Steuermann studied piano with Vilém Kurz at the Lemberg Conservatory and Ferruccio Busoni in Berlin, and studied composition with Engelbert Humperdinck and Arnold Schoenberg. He played the piano part in the first performance of Schoenberg's ''Pierrot Lunaire'' and premiered his Piano Concerto. He continued his association with Schoenberg as a pianist for the composer's Society for Private Musical Performances in Vienna, and made an arrangement for piano trio of Schoenberg's ''Verklärte Nacht''. He performed in the radio premiere of Schoenberg's "Ode to Napoleon Bonaparte" with the New York Philharmonic under Artur Rodziński on November 26, 1944. In 1952 he was awarded the Schoenberg Medal by the International Society for Contemporary Music. He taught at the Internationale Ferienkurse für Neue Musik at Darmsta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sigmund Freud
Sigmund Freud ( , ; born Sigismund Schlomo Freud; 6 May 1856 – 23 September 1939) was an Austrian neurologist and the founder of psychoanalysis, a clinical method for evaluating and treating pathologies explained as originating in conflicts in the psyche, through dialogue between a patient and a psychoanalyst. Freud was born to Galician Jewish parents in the Moravian town of Freiberg, in the Austrian Empire. He qualified as a doctor of medicine in 1881 at the University of Vienna. Upon completing his habilitation in 1885, he was appointed a docent in neuropathology and became an affiliated professor in 1902. Freud lived and worked in Vienna, having set up his clinical practice there in 1886. In 1938, Freud left Austria to escape Nazi persecution. He died in exile in the United Kingdom in 1939. In founding psychoanalysis, Freud developed therapeutic techniques such as the use of free association and discovered transference, establishing its central role in the analyt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henry Klumpenhouwer
Henry Klumpenhouwer is a Canadian musicologist and former professor at the University of Alberta. He currently teaches at the Eastman School of Music. A former PhD student of David Lewin and the inventor of Klumpenhouwer networks, which are named after him, he is the former editor of ''Music Theory Spectrum''. See also *Transformational theory Bibliography *Klumpenhouwer, Henry (1991). "Aspects of Row Structure and Harmony in Martino's Impromptu Number 6", p. 318n1, '' Perspectives of New Music'', Vol. 29, No. 2 (Summer), pp. 318–354. *Klumpenhouwer, Henry (1992).The Cartesian Choir, ''Music Theory Spectrum''. External links Our People - Theory - Music, ''UAlberta.Ca''. Faculty, ''Mannes College The New School for Music Mannes School of Music is a music conservatory in The New School, a private research university in New York City. In the fall of 2015, Mannes moved from its previous location on Manhattan's Upper West Side to join the rest of the New School ca ... ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Reinhold Brinkmann
Reinhold Brinkmann (21 August 1934, Wildeshausen, Oldenburg, Lower Saxony – 10 October 2010, Eckernförde, Rendsburg-Eckernförde, Schleswig-Holstein) was a German musicologist. Brinkmann was born in Wildeshausen and studied at Freiburg im Breisgau. His dissertation was about Arnold Schönberg's Klavierstücke op. 11. He started working on the faculty of Freie Universität Berlin in 1970. From 1972 to 1980 he taught at Philipps-Universität Marburg, and then until 1985 again in Berlin, at the Universität der Künste Berlin. After 1985 he taught at Harvard University, as the James Edward Ditson professor, and chair of the department of music. In 2001 he was honored with the Ernst von Siemens Music Prize. In 2006 he was elected Honorary Member of the American Musicological Society. His research has included widely diverse publications in all areas of music theory and history from the 18th to the 20th centuries, with particular emphasis on interdisciplinary aspects. His writi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edward T
Edward is an English given name. It is derived from the Anglo-Saxon name ''Ēadweard'', composed of the elements '' ēad'' "wealth, fortune; prosperous" and '' weard'' "guardian, protector”. History The name Edward was very popular in Anglo-Saxon England, but the rule of the Norman and Plantagenet dynasties had effectively ended its use amongst the upper classes. The popularity of the name was revived when Henry III named his firstborn son, the future Edward I, as part of his efforts to promote a cult around Edward the Confessor, for whom Henry had a deep admiration. Variant forms The name has been adopted in the Iberian peninsula since the 15th century, due to Edward, King of Portugal, whose mother was English. The Spanish/Portuguese forms of the name are Eduardo and Duarte. Other variant forms include French Édouard, Italian Edoardo and Odoardo, German, Dutch, Czech and Romanian Eduard and Scandinavian Edvard. Short forms include Ed, Eddy, Eddie, Ted, Teddy and Ned. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sechs Kleine Klavierstücke
', Op. 19 (''Six Little Piano Pieces'') is a set of pieces for solo piano written by the Austrian composer Arnold Schoenberg, published in 1913 at Universal Edition in Vienna. History After having written large, dense works such as '' Pelleas und Melisande'', up until 1907, Schönberg decided to turn away from this style, beginning with his second string quartet of 1908. The following excerpt, translated from a letter written to Ferruccio Busoni in 1909, well expresses his reaction against the excess of the Romantic period: My goal: complete liberation from form and symbols, cohesion and logic. Away with motivic work! Away with harmony as the cement of my architecture! Harmony is expression and nothing more. Away with pathos! Away with 24 pound protracted scores! My music must be short. Lean! In two notes, not built, but "expressed". And the result is, I hope, without stylized and sterilized drawn-out sentiment. That is not how man feels; it is impossible to feel only one em ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Quotation
Musical quotation is the practice of directly quoting another work in a new composition. The quotation may be from the same composer's work (self-referential), or from a different composer's work (appropriation). Sometimes the quotation is done for the purposes of characterization, as in Puccini's use of ''The Star-Spangled Banner'' in reference to the American character Lieutenant Pinkerton in his opera ''Madama Butterfly'', or in Tchaikovsky's use of the Russian and French national anthems in the ''1812 Overture'', which depicted a battle between the Russian and French armies. Sometimes, there is no explicit characterization involved, as when Luciano Berio used brief quotes from Johann Sebastian Bach, Ludwig van Beethoven, Alban Berg, Pierre Boulez, Gustav Mahler, Claude Debussy, Paul Hindemith, Maurice Ravel, Arnold Schoenberg, Karlheinz Stockhausen, Richard Strauss, Igor Stravinsky, Anton Webern, and others in his ''Sinfonia''. Quotation vs. variation Musical quotation is to be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody
A melody (from Greek μελῳδία, ''melōidía'', "singing, chanting"), also tune, voice or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include other musical elements such as tonal color. It is the foreground to the background accompaniment. A line or part need not be a foreground melody. Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape. Function and elements Johann Philipp Kirnberger argued: The Norwegian composer Marcus Paus has argued: Given the many and varied e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony
In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However, harmony is generally understood to involve both vertical harmony (chords) and horizontal harmony (melody). Harmony is a perceptual property of music, and, along with melody, one of the building blocks of Western music. Its perception is based on consonance, a concept whose definition has changed various times throughout Western music. In a physiological approach, consonance is a continuous variable. Consonant pitch relationships are described as sounding more pleasant, euphonious, and beautiful than dissonant relationships which sound unpleasant, discordant, or rough. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Counterpoint, which refers to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BACH Motif
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, ''B flat, A, C, B natural''. In German musical nomenclature, in which the note ''B natural'' is named ''H'' and the ''B flat'' named ''B'', it forms Johann Sebastian Bach's family name. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century. Origin Johann Gottfried Walther's ''Musicalisches Lexikon'' (1732) contains the only biographical sketch of Johann Sebastian Bach published during the composer's lifetime. There the motif is mentioned thus:This reference work thus indicates Bach as the inventor of the motif. Usage in compositions In a comprehensive study published in the catalogue for the 1985 exhibition "300 Jahre Johann Sebastian Bach" ("300 years of Johann Sebastian Bach") in Stuttgart, Germany, Ulrich Prinz lists 409 works ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cryptogram
A cryptogram is a type of puzzle that consists of a short piece of encrypted text. Generally the cipher used to encrypt the text is simple enough that the cryptogram can be solved by hand. Substitution ciphers where each letter is replaced by a different letter or number are frequently used. To solve the puzzle, one must recover the original lettering. Though once used in more serious applications, they are now mainly printed for entertainment in newspapers and magazines. Other types of classical ciphers are sometimes used to create cryptograms. An example is the book cipher where a book or article is used to encrypt a message. History of cryptograms The ciphers used in cryptograms were not originally created for entertainment purposes, but for real encryption of military or personal secrets. The first use of the cryptogram for entertainment purposes occurred during the Middle Ages by monks who had spare time for intellectual games. A manuscript found at Bamberg states tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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