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muziektheorie > analyse  > Schoenberg, Webern Berg
 
handout 1 (scores and score excerpts):
 
Schoenberg:  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
Webern: Entflieht auf leichten Kähnen Op. 2
5 Sätze für Streichquartett Op. 5
Berg: Piano Sonata Op. 1
scores and articles:
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

SCORES
Schoenberg:

4 Songs Op. 2
Verklaerte Nacht Op. 4
Verklaertet Nach Op. 4, manuscript
Second String Quartet Op. 10
3 Piano Pieces Op. 11
6 Piano Pieces Op. 19
Pierrot Lunaire: translation of the Texts

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Webern:

Entflieht auf leichten Kaehnen Op. 2
5 Saetze f. Streichquartett Op.5
Symphony Op. 21
Concerto, Op. 24
Variations for Piano Op. 27

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Berg:

Piano Sonata Op.1