Heinrich Schenker and Musical Form

1943 ◽  
Vol 7 (1) ◽  
pp. 12-13 ◽  
Author(s):  
Frank Knight Dale
Keyword(s):  
Heinrich Schenker ◽  
Musical Form

Heinrich Schenker and Musical Form

1943 ◽  
Vol 7 ◽  
pp. 12-13
Author(s):  
Frank Knight Dale
Keyword(s):  
Heinrich Schenker ◽  
Musical Form

Schenker versus Schoenberg versus Schenker: The Difficulties of a Reconciliation

2001 ◽  
Vol 126 (2) ◽  
pp. 250-274 ◽  
Author(s):  
Gianmario Borio
Keyword(s):  
Present Article ◽  
Music Theory ◽  
Analytical Methods ◽  
Arnold Schoenberg ◽  
Uneven Development ◽  
Heinrich Schenker ◽  
Musical Form ◽  
Philosophical Background

Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: the first movements of Beethoven's sonatas op. 2 no. 1, op. 10 no. 1 and op. 57. The comparison of Schenker's analyses in Der Tonwille and Der freie Satz with those of Schoenberg, Webern, Rufer and Ratz shows that the disagreement principally concerns musical form and the functions of its components. The differences can finally be traced back to two opposite paradigms: music as nature and music as language.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

Pandemic meaning making: messing toward motet

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Mary Beth Schaefer ◽  
Sandra Schamroth Abrams ◽  
Molly Kurpis ◽  
Charlotte Abrams ◽  
Madeline Abrams
Keyword(s):  
Participatory Research ◽  
Research Method ◽  
Design Methodology ◽  
Research Team ◽  
Research Study ◽  
Literacy Practices ◽  
Meaning Making ◽  
Musical Form ◽  
Content Type ◽  
At Home

Purpose In this child–parent research study, three adolescents theorize their meaning-making experiences while engaged in exclusive online learning during a three-month stay-at-home mandate. The purpose of this study is to highlight youth-created understandings about their literacy practices during COVID-19 in order to expand possibilities for youth-generated theory. Design/methodology/approach This child–parent research builds upon a critical dialectical pluralist (CDP) methodology, which is a participatory research method that looks to privilege the child as a co-researcher at every stage of the inquiry. In this research study, the adolescents work together to explore what it means to create and learn alone and then with others via virtual platforms. Research team discussions initially were scaffolded by the parent–researchers, and the adolescents developed their analyses individually and together, and their words and insights situate the findings and conclusions. Findings The musical form of a motet provides a metaphor that three adolescents used to theorize their meaning-making experiences during the stay-at-home order. The adolescents determined that time, frustration, and space were overarching themes that captured the essence of working alone, and then together, in messy, orchestrated online ensembles. Originality/value In this youth-centric research paper, three adolescents create understandings of their meaning-making experiences during the stay-at-home order and work together to determine personal and pedagogical implications.

How to Understand Musical Form

1948 ◽  
Vol 89 (1261) ◽  
pp. 78
Author(s):  
W. R. A. ◽  
J. Raymond Tobin
Keyword(s):  
Musical Form

Arthur Benjamin's Piano Concerto

Tempo ◽  
1952 ◽  
pp. 19-21
Author(s):  
John Cowan
Keyword(s):  
General Public ◽  
New Work ◽  
Musical Form ◽  
Piano Concerto ◽  
Widespread Interest

The solo concerto, and in particular the piano concerto, is still the most popular musical form amongst the general public to-day. Therefore the appearance of a new work of this variety by a well-known composer is inevitably a matter of widespread interest.

scholarly journals KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu)

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Bekti Setyo Utomo
Keyword(s):  
Creative Process ◽  
Musical Composition ◽  
Musical Form ◽  
Major Scale

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu

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