: Schoenberg's Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914-1928 . Ethan Haimo.

1992 ◽  
Vol 14 (1) ◽  
pp. 109-113
Author(s):  
Michael Cherlin
Keyword(s):  
Twelve Tone

Autism

2018 ◽  
Author(s):  
Joseph N. Straus
Keyword(s):  
Twelve Tone ◽  
Serial Music ◽  
Cognitive Deficiency

Autism and twelve-tone serial music are related, mutually reinforcing forms of cultural modernism. Both have been understood as excessively isolated or alone, with each entity self-contained and self-enclosed; as uncommunicative, or communicating in atypical ways, with an excess of private meanings and self-references; as demonstrating an unproductive preference for routines and rituals; as incongruously hypertrophied in certain respects (often hyperrational) and atrophied in others (often emotionally or expressively defective). They have also been understood as inaccessible fortresses; as incomprehensible aliens; as cold, unfeeling machines (especially computational machines); and as idiot savants (with isolated islands of excellence in a sea of cognitive deficiency).

scholarly journals Theme and Variations: A Study of Linear Twelve Tone Composition

1959 ◽  
Vol 45 (3) ◽  
pp. 71
Author(s):  
Robert Kelly
Keyword(s):  
Twelve Tone ◽  
Theme And Variations

scholarly journals Writing for CBC Wartime Radio Drama: John Weinzweig, Socialism, and the Twelve-Tone Dilemma

2018 ◽  
Vol 36 (2) ◽  
pp. 77-88 ◽  
Author(s):  
Carolyne Sumner
Keyword(s):  
Compositional Style ◽  
Political Climate ◽  
Radio Drama ◽  
Twelve Tone ◽  
Journalism Studies ◽  
Political Upheaval ◽  
Art Form ◽  
Canadian Broadcasting Corporation ◽  
War Effort ◽  
Library And Archives Canada

Radio drama was a quintessential source of entertainment for Canadian audiences during the Second World War, and the Canadian Broadcasting Corporation (CBC) used the art form to distribute propaganda and garner support for the Canadian war effort. Similarly, CBC radio drama became an essential artistic outlet for artists and composers to articulate their political beliefs to a national audience. This article frames Canadian composer John Weinzweig’s works for the CBC radio drama series New Homes for Old (1941) within the socio-political climate of the 1930s and 1940s and suggests that radio drama provided Weinzweig with a national soapbox for his radical socialist ideals during a time of political upheaval. My research draws on archival materials from Library and Archives Canada, the CBC Music Library Archives, and Concordia’s Centre for Broadcasting and Journalism Studies to build upon the biographical work of Elaine Keillor and Brian Cherney. I establish Weinzweig’s socialist ties and argue that his political leanings prompted him to simplify his serial language in favour of a simplified modernist aesthetic, which appealed to Canada’s conservative wartime audiences. This study of Weinzweig’s radio works reveals how the composer desired to make serial compositions accessible and palatable, and shows how he incorporated vernacular idioms such as folk songs and national anthems as foils to the elitist European serial aesthetic. In doing so, I show how Weinzweig uses a powerful and pervasive medium to promote his unique compositional style and also to reflect the cultural, political, and aesthetic ideals of leftist socialism.

Twelve-Tone Polarity in Late Works of Luigi Dallapiccola

1986 ◽  
Vol 30 (2) ◽  
pp. 203 ◽  
Author(s):  
David L. Mancini
Keyword(s):  
Twelve Tone ◽  
Luigi Dallapiccola ◽  
Late Works

Order and the Occult in the Twelve-Tone Method

2019 ◽  
pp. 179-205
Author(s):  
Brian K. Etter
Keyword(s):  
Twelve Tone

Henry Cowell and the West Coast Dance Scene

Artful Noise ◽  
2020 ◽  
pp. 42-63
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
World War I ◽  
West Coast ◽  
Modern Dance ◽  
The United States ◽  
Arnold Schoenberg ◽  
World War ◽  
The West ◽  
Twelve Tone ◽  
Henry Cowell

Modern dance and music for percussion are linked through the works of musicians who studied with the iconoclastic composer Henry Cowell. This chapter highlights the work of numerous artists who were involved in the dance and music scene along the West Coast of the United States during the 1930s and 1940s. Cowell’s early publishing venture New Music helped launch the careers of composers Johanna Beyer, William Russell, Lou Harrison, John Cage, and others. The latter two composers, Harrison and Cage, also studied with the Austrian American composer Arnold Schoenberg whose use of the twelve-tone technique became central to the music of the twentieth century. The chapter ends with a summary of percussion music’s development from the decades before World War I to the compositional hiatus caused by World War II.

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