Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 1 - Tonal oder Atonal?

  • Jack Boss, University of Oregon
  • Book:
    Schoenberg's Atonal Music
    Published online:
    28 June 2019
    Print publication:
    04 July 2019, pp 1-40

  • Summary

    The introductory chapter begins by offering a rebuttal to Ethan Haimo’s claim in Schoenberg's Transformation of Musical Language (Cambridge, 2006) that “atonal” is an inappropriate term for Schoenberg's middle-period music. It does so by presenting Schenkerian analyses of “Jesus bettelt,” Op. 2, No. 2, and the first Piano Piece, Op. 11, demonstrating that the traditional contrapuntal structures of tonal music are present in the first piece, though often harmonized with unusual chords, but are incomplete or non-existent in the second piece. The chapter then proceeds to show how features originally characteristic of tonal music, other than typical Schenkerian middlegrounds, play crucial roles in organizing Op. 11, No. 1 – traditional tonal form, as well as motivic and harmonic processes that manifest and elaborate the “musical idea,” a conflict-elaboration-solution narrative.