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Arnold Schoenberg's Fourth String Quartet and Milton Babbitt : = Reconsidering an American analytical legacy.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Arnold Schoenberg's Fourth String Quartet and Milton Babbitt :/
其他題名:	Reconsidering an American analytical legacy.
作者:	Vilar-Paya, Maria Luisa.
面頁冊數:	1 online resource (137 pages)
附註:	Source: Dissertations Abstracts International, Volume: 61-03, Section: A.
Contained By:	Dissertations Abstracts International61-03A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9931429click for full text (PQDT)
ISBN:	9780599316461

Arnold Schoenberg's Fourth String Quartet and Milton Babbitt : = Reconsidering an American analytical legacy.
Vilar-Paya, Maria Luisa.

Arnold Schoenberg's Fourth String Quartet and Milton Babbitt :Reconsidering an American analytical legacy. - 1 online resource (137 pages)

Source: Dissertations Abstracts International, Volume: 61-03, Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 1999.

Includes bibliographical references

This dissertation explores issues pertaining to Schoenberg's twelve-tone music and its analytical reception. The methodological underpinning of this study is based on: (a) The identification of points of intersection between the analytical framework and the aesthetic goals-implicit as well as explicit-governing the theoretical work of Milton Babbitt that deals with Schoenberg's twelve-tone output; (b) my own analysis of Schoenberg's Fourth String Quartet which focuses on the fourth movement and emphasizes aspects of form and harmonic organization that have usually been overlooked or downplayed by postwar twelve-tone theory. The dissertation falls into three chapters, two of them dedicated mainly to analytical discussion. An introductory chapter reviews the epistemological and historiographical frames that shaped Milton Babbitt's approach to Schoenberg's music. The following chapters attempt a dialogue with Babbitt-questioning some of his assumptions but, at the same time, stressing the importance and benefits of serial analysis. Chapter Two describes the formal layout of the last movement of Schoenberg's Fourth String Quartet focusing on major formal articulations and their relation to other cadential passages pertaining to the first and third movements. The third and final chapter focuses on explaining those elements of the quartet's set structure that can lead the music analyst into a process of discovery that supports, explains, and enriches the perception of the quartet.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780599316461Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Babbitt, MiltonIndex Terms--Genre/Form:

542853
Electronic books.

Arnold Schoenberg's Fourth String Quartet and Milton Babbitt : = Reconsidering an American analytical legacy.
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520 $a This dissertation explores issues pertaining to Schoenberg's twelve-tone music and its analytical reception. The methodological underpinning of this study is based on: (a) The identification of points of intersection between the analytical framework and the aesthetic goals-implicit as well as explicit-governing the theoretical work of Milton Babbitt that deals with Schoenberg's twelve-tone output; (b) my own analysis of Schoenberg's Fourth String Quartet which focuses on the fourth movement and emphasizes aspects of form and harmonic organization that have usually been overlooked or downplayed by postwar twelve-tone theory. The dissertation falls into three chapters, two of them dedicated mainly to analytical discussion. An introductory chapter reviews the epistemological and historiographical frames that shaped Milton Babbitt's approach to Schoenberg's music. The following chapters attempt a dialogue with Babbitt-questioning some of his assumptions but, at the same time, stressing the importance and benefits of serial analysis. Chapter Two describes the formal layout of the last movement of Schoenberg's Fourth String Quartet focusing on major formal articulations and their relation to other cadential passages pertaining to the first and third movements. The third and final chapter focuses on explaining those elements of the quartet's set structure that can lead the music analyst into a process of discovery that supports, explains, and enriches the perception of the quartet.
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