Download Constructive Dissonance: Arnold Schoenberg and the by Juliane Brand, Christopher Hailey PDF

By Juliane Brand, Christopher Hailey

Arnold Schoenberg (1874-1951) is a pivotal determine of musical modernism. The "father of serialism" has stimulated approximately each significant composer of this century, and the belief of Schoenberg, now wild-eyed radical, now embattled moralist, now lonely prophet, is woven into the mythos of smooth paintings. what's extra, the websites of his specialist activityfin de sicle Vienna, the Berlin of the Weimar Republic, and his "exile to paradise" in Los Angelesbring domestic the consultant caliber of his lifestyles and works, which endure witness to a number of the defining studies of our time. This assortment through top Schoenberg students is an interdisciplinary exam of the historic, aesthetic, and highbrow concerns that shaped Schoenberg's artistic character and proceed to persuade our reaction to the modernist legacy of the 1st 1/2 this century. The book's first part, "Contexts," investigates Schoenberg's experience of ethnic, non secular, and cultural id. the second one part, "Creations," specializes in particular works and the interaction among artistic impulse and aesthetic articulation. the ultimate part, "Connections," addresses the connection of Schoenberg's legacy to present-day proposal and perform.

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Extra resources for Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture

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14. Jacob Wassermann, Mein Weg als Deutscher und Jude (Berlin: S. Fischer Verlag, 1921). 15. Max Brod, Heidentum, Christentum, Judentum, 2 vols. (Munich: Kurt Wolff Verlag, 1921). 16. Jacob Klatzkin, Krisis und Entscheidung im Judentum: Probleme des modernen Judentums, 2d ed. (Berlin: Jüdischer Verlag, 1921). 17. Michael Mäckelmann, Arnold Schönberg und das Judentum: Der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921 (Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1984), 13-14.

Previous page page_36 next page > < previous page page_37 next page > Page 37 Image not available. Fig. 2. Kandinsky, Romantic Landscape, 3 January 1911. 3 x 129 cm. Städtische Galerie im Lenbachhaus, Munich. Copyright © 1996 Artists Rights Society (ARS), New York/ADAGP, Paris. And Marc outlined how in his painting he, too, wanted to operate with independent primary colors free of bondage to the paradigm of the prism. " Marc had at this time very likely begun work on his Blue Horse I. 6 Little notice has been taken of the fact that on that same postconcert day Kandinsky's hypercreativity had resulted in yet a second painting, Romantic Landscape, with its trio of horsemen careening across a barren landscape ambiguous in time and space (see figure 2).

Both men, coming of age in the late nineteenth century in Vienna, confronted what they regarded as the corruption of musical culture in their own time. The objective of a new aesthetic, therefore of a break with the past was to find a way out of the legacy of Wagnerism, not only in compositional practice but also in music education and the dynamics of public musical life. Although the conclusions they drew were different, Brahms emerged as the pivotal figure for them both. From the perspective of the late twentieth century, the critique on the part of a younger generation of the musical culture of fin de siècle Vienna set the stage for a modern movement in both composition and music scholarship that explicitly sought to delegitimate the social and cultural consequences of the popularization of concert music during the late nineteenth century.

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