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Formal Functions in the Music of Arn...

Eason, Andrew C.

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Formal Functions in the Music of Arnold Schoenberg.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Formal Functions in the Music of Arnold Schoenberg./
Author:	Eason, Andrew C.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	242 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
Contained By:	Dissertations Abstracts International81-04A.
Subject:	Music theory. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22623505
ISBN:	9781392507391

Formal Functions in the Music of Arnold Schoenberg.
Eason, Andrew C.

Formal Functions in the Music of Arnold Schoenberg. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 242 p.

Source: Dissertations Abstracts International, Volume: 81-04, Section: A.

Thesis (Ph.D.)--University of Oregon, 2019.

This item must not be sold to any third party vendors.

Musical form has undergone a significant revival in the past twenty years, largely due to Caplin's Classical Form. However, most of this attention has focused on tonal forms in the Classical and Romantic eras. This project establishes a form-functional approach for analyzing the music of Arnold Schoenberg. Drawing on Schoenberg's own theoretical writings throughout his career, I show how his concept of form can be applied to without relying on the traditional harmonic signs. This project expands form-functional analysis into the 20th century while finding its roots in Schoenberg's thought. I begin by climbing up the formal hierarchy, beginning with smaller formal units and combining them into larger sections and movements. I do this by identifying prototypical functions in Schoenberg's tonal sextet Verklarte Nacht Op. 4 and the twelve-tone Suite for Piano Op. 25. From there, I show how themes can be combined into ternary movements and larger sonata forms using Op. 25 as well as the Klavierstuck Op. 33b. Chapter 6 examines the Third String Quartet Op. 30, which shows how Schoenberg expands the prototypical forms into much larger pieces. Chapter 7 demonstrates the analytical technique with the first two movements of Op. 11, showing how less typical forms still convey temporality and formal functions.

ISBN: 9781392507391Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

energetics

Formal Functions in the Music of Arnold Schoenberg.
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500 $a Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
500 $a Advisor: Boss, Jack F.
502 $a Thesis (Ph.D.)--University of Oregon, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a Musical form has undergone a significant revival in the past twenty years, largely due to Caplin's Classical Form. However, most of this attention has focused on tonal forms in the Classical and Romantic eras. This project establishes a form-functional approach for analyzing the music of Arnold Schoenberg. Drawing on Schoenberg's own theoretical writings throughout his career, I show how his concept of form can be applied to without relying on the traditional harmonic signs. This project expands form-functional analysis into the 20th century while finding its roots in Schoenberg's thought. I begin by climbing up the formal hierarchy, beginning with smaller formal units and combining them into larger sections and movements. I do this by identifying prototypical functions in Schoenberg's tonal sextet Verklarte Nacht Op. 4 and the twelve-tone Suite for Piano Op. 25. From there, I show how themes can be combined into ternary movements and larger sonata forms using Op. 25 as well as the Klavierstuck Op. 33b. Chapter 6 examines the Third String Quartet Op. 30, which shows how Schoenberg expands the prototypical forms into much larger pieces. Chapter 7 demonstrates the analytical technique with the first two movements of Op. 11, showing how less typical forms still convey temporality and formal functions.
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