handout 1
(scores and score excerpts):
Schoenberg: |
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Lieder Op. 2, Nrs. 1 / 2
Verklärte Nacht (beginning)
String Quartet No. 2 Op. 10 (beginning of the
ffirst movement, 4th movement)
Piano Pieces Op. 11
Piano Pieces Op. 19 |
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Webern: |
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Entflieht auf leichten Kähnen Op. 2
5 Sätze für Streichquartett Op. 5 |
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Berg: |
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Piano Sonata Op. 1 |
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scores and articles: |
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ARTICLES
general:
Bass,
Half-Diminished Functions and Transformations in Late Romantic Music
Mark
Delaere, Funktionelle Atonalität: Analytische Strategien für
die frei-atonale Musik der Wiener Schule (review)
Gerhard
Luchterhandt, Arnold Schönbergs Tonalitätsdenken und dessen Entwicklung
seit der Harmonielehre
Hyde,
The Format and Function of Schoenberg's Twelve-Tone Sketches
Moßburger,
Hörbarkeit der Musik des 20. Jahrhunderts, dargestellt am Beispiel
der Dodekaphonie
Mauser
(1996), Zur MusikalischeAnalyse in Kontext der Wiener Schule
Baragwanath,
Alban Berg, Richard Wagner und Leitmotive der Symmetrie
Samson,
Schoenberg's 'atonal' music
Brown,
Schoenberg's Early Wagnerisms: Atonality and the Redemption of Ahasuerus
Forte,
Schoenberg's Creative Evolution: The Path to Atonality
Shaftel,
Webern's "Heavenly Journey" and_Schoenbergs Vagrant chord
Solomon,
Symmetry as a Compositional determinant (Webern, Bartok) |
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on works by Schoenberg:
Lewin
(1987), On the 'Ninth Chord in 4th Inversion' inVerklaerteNacht
Pfannkuch
(1963), Zu Thematik und Form in Schoenberg's Streichsextett (Verklaerte
Nacht)
Simms,
My Dear Hagerl”: Self-Representation in Schoenberg’ s String
Quartet No. 2
Hooning
(1997), Afscheid can de traditie? Tonaliteit versus atonaliteit in Schoenberg's
strijkkwartet Op. 10 / 4
Catherine
Dale, Tonality and Structure in Schoenberg's Second String Quartet, Op.
10 (review)
Alan
Forte (1981), Schoenberg Op. 11, No.1 The Magical Kaleidoscope
Ogdon
(1981), How tonality fuctions in Schoenberg's Op. 11, No. 1
Boss,
"Musical_Idea" andMotivic Structure in Schoenberg's Op. 11, No .1
Olli
Väisälä, Concepts of Harmony and Prolongation in Schoenberg's
Op. 19/2
Morrison,
Syncopation as Motive in Schoenberg's Op. 19, Nos 2, 3 and 4
Jack
Boss, Schoenberg's Op. 22 Radio Talk and Developing Variation in Atonal
Music
Schoenberg
/ Spies, Analysis of the Four Orchestral Songs Opus 22
Kurth,
Mosaic Polyphony: Formal Balance, Imbalance, and Phrase Formation in the
Prelude of Schoenberg's Suite, Op. 25
Fedyushkin,_Schoenberg,
Analysis of: Gavotte from Suite Op.25
How,
Arnold Schoenberg's Prelude from the Suite for piano, Op. 25: From composition
with 12 tones to the twelve-tone method
Strauss,
Schoenberg: Suite for piano Op25, Gavotte / Stravinsky: in Memoriam Dylan
Thomas |
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on works by Webern:
Solomon,
Symmetry as a Compositional determinant (Webern, Bartok)
Westergaard,
Webern and "Total Organization": An Analysis of the Second Movement of
Piano Variations, Op. 27
Nolan,
Structural Levels and Twelve-Tone Music: A Revisionist Analysis of the
Second Movement ofWebern's "Piano Variations" Op. 27 |
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on works by Berg:
Leibowitz,
Alban Berg's Five Orchestral Songs after Post-Card Texts by Peter Altenberg,
Op. 4 |
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SCORES
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