Arnold Schoenberg (Author) Structural Functions of Harmony is a standard work on its subject and provides an invaluable key to the development of musical . ARNOLD SCHOENBERG. u. PREFACE TO. THE REVISED EDITION. THE REISSUANCE OF Structural Functions of Harmony some fifteen years after its first. Structural Functions of Harmony has ratings and 4 reviews. Spiros said: This book is one of it’s kind- you will not find a similar analysis of romant.
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Structural Scjoenberg of Harmony by Arnold Schoenberg. The earlier chapters recapitulate in condensed form the principles laid down in his Theory of Harmony ; the later chapters break entirely new ground, for they analyze the system of key relationships within the structure of whole movements and affirm the principle of “monotonality,” showing how all modulations within a movement are merely deviations from, and not negations o The earlier chapters recapitulate in condensed form the principles laid down in his Theory of Harmony ; the later chapters break entirely new ground, for they analyze the system of key relationships within the structure of whole movements and affirm the principle of “monotonality,” showing how all modulations within a movement are merely deviations from, and not negations of, its main tonality.
Schoenberg’s echoenberg is supported by music examples, which range from entire development sections of classical symphonies to analyses of the experimental harmonic progressions of Strauss, Debussy, Reger, and Schoenberg’s own early music. The final chapter, “Apollonian Arnole of a Dionysian Epoch,” discusses the music of our time, with particular reference to the possibility of new methods of harmonic analysis.
Structural Functions of Harmony is a standard work on its subject and provides an invaluable key to the development of musical structure during the last two hundred and fifty years. This new edition, with corrections, a new preface, and an index of subject headings, has been prepared under the editorial supervision of Leonard Stein.
To see what your friends thought of this book, please sign up. To ask other readers questions about Structural Functions of Harmonyplease sign up. Be the first to ask a question about Structural Functions of Harmony. Lists with This Book. Nov 18, Spiros rated it it was amazing. This book is one of it’s kind- you will not find a similar analysis of romantic harmonies, done in the same way, from the prespective of a composer and not a musicologist. His way is strange at first, but you can quickly get over it.
It should be used after, or with the “Theory of Harmony”, also by Schoenberg, in order to understand the concept he uses in this nice little book. Not something you study from start to finish then forget, will strctural a few read-throughs, but it’s worth it. Mar 15, Ben rated it it was amazing. An excellent follow-up to the Theory of Harmony – in fact the first few chapters are a quick struchural of the main concepts laid out in the earlier book.
Where Theory of Harmony left off, however, this book adds the next level of a comprehensive system for relating chordal regions within a key, provides guidelines for successfully modulating between these regions, and backs it all up with in-depth analyses of examples from the literature.
Much of this is stuff you learn in first-year theory, but Schoenberg has some other interesting theories of his own. Sometimes I wonder if these ideas are a little “forced,” such as regionality.
Structural Functions of Harmony
There’s a lot of analysis, which is nice. I like to see things analyzed for me. Really tough to understand at first because he invented his own language for music theory, but once that obstacle is cleared it is really helpful in understanding late romantic arhold. Max Goodall rated it liked it Mar 31, Maja rated it liked it Aug 18, Randol Schoenberg rated it it was amazing Apr 20, Arda rated it it was amazing Aug 13, Kristian rated it really liked arbold Aug 14, Marco rated it it was amazing Dec 06, Vic Dillahay rated it it was amazing Functilns 29, Fabrizio Gazzola rated it it was amazing Oct 21, Nikki Mackenzie rated it it was amazing Sep 04, Adam rated it liked it Feb 27, Christina K rated it it was amazing Jun 06, Avantika rated it really liked it Nov 30, Felipe rated it it was amazing Oct 18, Davide Nudo rated it really liked it Mar 16, Hans Grumbein rated it it was amazing Apr 15, Colin Scott rated it really liked it Feb 14, Rabeah Asal Razavi rated it it was amazing Dec 18, Wayne rated it it was amazing Jun 22, Octipi rated it it was amazing Jun 30, Brooklyn rated it really liked it Nov 20, Plato rated it it was ok Jul 22, Ramiro Melo rated it it was amazing Apr 11, Max rated it really liked it Aug 23, Les rated it it was amazing Sep 30, There are no discussion topics on this book yet.
He was an Austrian composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. Schoenberf approach, schoennerg in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art.
Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality that would become the most polemical feature of 20th-century art music. In the s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale.
He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea. Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, and many other prominent musicians.
Many of Schoenberg’s practices, including the formalization of compositional method, and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century.
His often polemical views of music history and aesthetics were crucial to many of the 20th century’s significant musicologists and critics, including Theodor Adorno, Charles Rosen, and Carl Dahlhaus.
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