MTO 21.3 Examples: Boss, Motivic Processes in Schoenberg

Transcription

1 MTO 21.3 Examples: Boss, Motivic Processes in Schoenberg (Note: audio, video, and other interactive examples are only available online) Example 1. Part of a letter from Arnold Schoenberg to Ferruccio Busoni, dated August 13, 1909 (translated by Antony Beaumont; a larger excerpt may be found in Beaumont 1987, 389)

2 Example 2. Two lines from Schoenberg s original handwritten letter to Busoni (reproduced from a photocopy held by the Arnold Schönberg Center, finding element , SatColl D2, folder 2). Used by permission of Belmont Music Publishers, Los Angeles

3 Example 3. Reprinted from Examples of Brinkmann (1969)

4 Example 4. The first motivic process from op. 11, no. 1, an incremental ordered pitch-interval expansion at the piece s opening. Used by permission of Belmont Music Publishers, Los Angeles

5 Example 5a. The first motivic process from op. 11, no. 1, generalized to successions of set classes at the piece s ending, mm (chords are read as ordered pitch-interval successions from the bottom up). Used by permission of Belmont Music Publishers, Los Angeles

6 Example 5b. A motivic segmentation from Schoenberg s Fundamentals of Musical Composition, the analysis of the opening of Beethoven s op. 2, no. 1 (Schoenberg 1967, 63). Used by permission of Belmont Music Publishers, Los Angeles

7 Example 5c. The progressions between sets from Example 5a reinterpreted as voice leadings in pitch or pitch-class space

8 Example 6. The second motivic process from op. 11, no. 1, explaining other interval successions in set-class 4 19 in terms of an overlap of the first two stages in Example 4. Used by permission of Belmont Music Publishers, Los Angeles

9 Example 7a. The second process following on the heels of the first in the opening section of op. 11, no. 3. Used by permission of Belmont Music Publishers, Los Angeles

10 Example 7b. The progressions between sets from Example 7a reinterpreted as voice leadings in pitch or pitchclass space

11 Example 8. Reinhold Brinkmann s form chart for op. 11, no. 3, translated from pp of Arnold Schönberg: Drei Klavierstücke op. 11: Studien zur Frühen Atonalität bei Schönberg (1969)

12 Example 9. Three sections in which variations of the first process dominate (Brinkmann s D, F and first measure of H). Used by permission of Belmont Music Publishers, Los Angeles

13 Example 10. The second, explanatory process fails under a sustained 3 5 (endpoint of the first process). Used by permission of Belmont Music Publishers, Los Angeles

14 Example 11. In Brinkmann s section L, 3-3 and 3-4 (in a setting that recalls the piece s opening) expand to 3-5 and then subsets of the whole-tone scale. Used by permission of Belmont Music Publishers, Los Angeles

15 Example 12. In Brinkmann s section N, 3-3 leads to expansions 3-7 (025) and 3-9 (027), in a similar rhythm to that of the opening measures of op. 11, no. 1. Used by permission of Belmont Music Publishers, Los Angeles

16 Example 13. The middle measure of Brinkmann s P, m. 28. An expansion of ordered pitch-class intervals in prime forms in the right hand is paired with two ordered pitch-interval expansions in the left. Used by permission of Belmont Music Publishers, Los Angeles

17 Example 14a. The last half of Brinkmann s section Q and first part of his section R. The expansion process projects itself more audibly (and forcefully) through an incremental expansion of pitch intervals, creating a recognizable wedge shape. Used by permission of Belmont Music Publishers, Los Angeles

18 Example 14b. Voice-leading graph of the right hand of Example 14a