Norton Dudeque
Possui mestrado em Performance musical - University Of Western Ontario (1991), mestrado em Musicologia pela Universidade de São Paulo (1997), doutorado em Música (Ph.D.) - University of Reading (2002). Realizou estágio pós-doutoral no Kings College em Londres (2012). Atualmente é professor associado da Universidade Federal do Paraná e atua no Programa de Pós-Graduação em Música da UFPR. Tem experiência na área de Artes, com ênfase em Teoria e análise musical, atuando principalmente nos seguintes temas: análise musical, musicologia, teoria musical, música brasileira dos séculos XIX e XX.
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Schoenberg (1874–1951) e sua recepção, usos e desenvolvimentos no Brasil. Neste texto se discorre, inicialmente, sobre a prática de “importar” métodos de teoria musical no Brasil, especificamente no caso do Instituto Nacional de Música, desde sua fundação em 1890. Segue uma revisão dos livros específicos de análise musical encontrados e publicados entre 1960 e 1980. As traduções dos livros de Schoenberg no Brasil ganham um destaque especial. Estas são responsáveis, em grande parte, pela divulgação dos conceitos teórico-analíticos de Schoenberg no nosso país. Também, se discute a precisão da tradução de alguns termos e conceitos fundamentais da teoria. Os desenvolvimentos e adaptações da teoria no Brasil são considerados na seção seguinte. Em particular, as abordagens
híbridas, ou seja, a teoria schoenberguiana e outras (análise schenkeriana, teoria dos conjuntos) são consideradas. Uma utilização importante são os estudos analíticos de música brasileira que tem como ferramenta as concepções de Schoenberg, estes são considerados em uma subseção. Segue uma seção dedicada às revisões da teoria de Schoenberg e seus desenvolvimentos. Finalmente, outros textos dedicados à utilização de aspectos analíticos diversos elaborados por Schoenberg são comentados na seção. É imperativo esclarecer, neste momento, que inúmeros textos não foram glosados devido à limitação de espaço, mas que são tão importantes quanto os que o foram. Assim, o leitor encontrará na bibliografia várias entradas que não aparecem ao longo do texto.
Abstract: This article discusses aspects of Leopoldo Miguéz’s symphonic poem Parisina op. 15. The work’s program is based on the homonymous poem by Lord Byron that narrates the tragedy of the character that gives the work its name. The composer, by adapting Byron’s poem for his program, articulates the music in three scenes, the third being a sonata form that provides the composer with the necessary rhetoric for the most emphatic expression of the drama. Important in this respect is the practice of “deformation” of sonata form elaborated by Hepokoski and Darcy (2006), which provides possibilities for modifying the form while maintaining traditional rhetoric. The analytical discussion presented in the text aims to clarify how Miguéz conveys his work for this purpose.
Abstract: This text discusses three distinct musical-analytical perceptions of the composer Arnold Schoenberg, as presented in his texts and discussed in the literature relevant to the subject. Initially, I discuss general notions about musical form and matters of logic, coherence and on unity in music. After this introduction, I present the main topic of this text: Schoenberg’s motivic approach. Motive unfolding, developing variation and musical prose are, each, distinct analytical and compositional perspective. Schoenberg suggests that these approaches may be related to certain period specific musical genres. However, by applying some of these notions to works that are not part of the Schoenberguian canon, I suggest analytical validity of these approaches for other repertoires.
Keywords: Schoenberg. Music analysis. Unfolding. Developing variation. Musical prose.
This text is motivated by the necessity for an alternative analytic approach for the type of musical work that does not follow the traditional motivic logic, in other words, works that presents as characteristic a great vari- ety of distinct musical ideas. In this article, I approach musical gestures as structuring elements of musical form and I attempt to relate them to Arnold Schoenberg’s concept of Musical Prose. Four types of gestures are considered in this context: motivic/thematic, cadential, textural and rhythmic. These musical gestures are applied to an analysis of Arnold Schoenberg’s Piano Piece Op. 11, No. 3.
Schoenberg (1874–1951) e sua recepção, usos e desenvolvimentos no Brasil. Neste texto se discorre, inicialmente, sobre a prática de “importar” métodos de teoria musical no Brasil, especificamente no caso do Instituto Nacional de Música, desde sua fundação em 1890. Segue uma revisão dos livros específicos de análise musical encontrados e publicados entre 1960 e 1980. As traduções dos livros de Schoenberg no Brasil ganham um destaque especial. Estas são responsáveis, em grande parte, pela divulgação dos conceitos teórico-analíticos de Schoenberg no nosso país. Também, se discute a precisão da tradução de alguns termos e conceitos fundamentais da teoria. Os desenvolvimentos e adaptações da teoria no Brasil são considerados na seção seguinte. Em particular, as abordagens
híbridas, ou seja, a teoria schoenberguiana e outras (análise schenkeriana, teoria dos conjuntos) são consideradas. Uma utilização importante são os estudos analíticos de música brasileira que tem como ferramenta as concepções de Schoenberg, estes são considerados em uma subseção. Segue uma seção dedicada às revisões da teoria de Schoenberg e seus desenvolvimentos. Finalmente, outros textos dedicados à utilização de aspectos analíticos diversos elaborados por Schoenberg são comentados na seção. É imperativo esclarecer, neste momento, que inúmeros textos não foram glosados devido à limitação de espaço, mas que são tão importantes quanto os que o foram. Assim, o leitor encontrará na bibliografia várias entradas que não aparecem ao longo do texto.
Abstract: This article discusses aspects of Leopoldo Miguéz’s symphonic poem Parisina op. 15. The work’s program is based on the homonymous poem by Lord Byron that narrates the tragedy of the character that gives the work its name. The composer, by adapting Byron’s poem for his program, articulates the music in three scenes, the third being a sonata form that provides the composer with the necessary rhetoric for the most emphatic expression of the drama. Important in this respect is the practice of “deformation” of sonata form elaborated by Hepokoski and Darcy (2006), which provides possibilities for modifying the form while maintaining traditional rhetoric. The analytical discussion presented in the text aims to clarify how Miguéz conveys his work for this purpose.
Abstract: This text discusses three distinct musical-analytical perceptions of the composer Arnold Schoenberg, as presented in his texts and discussed in the literature relevant to the subject. Initially, I discuss general notions about musical form and matters of logic, coherence and on unity in music. After this introduction, I present the main topic of this text: Schoenberg’s motivic approach. Motive unfolding, developing variation and musical prose are, each, distinct analytical and compositional perspective. Schoenberg suggests that these approaches may be related to certain period specific musical genres. However, by applying some of these notions to works that are not part of the Schoenberguian canon, I suggest analytical validity of these approaches for other repertoires.
Keywords: Schoenberg. Music analysis. Unfolding. Developing variation. Musical prose.
This text is motivated by the necessity for an alternative analytic approach for the type of musical work that does not follow the traditional motivic logic, in other words, works that presents as characteristic a great vari- ety of distinct musical ideas. In this article, I approach musical gestures as structuring elements of musical form and I attempt to relate them to Arnold Schoenberg’s concept of Musical Prose. Four types of gestures are considered in this context: motivic/thematic, cadential, textural and rhythmic. These musical gestures are applied to an analysis of Arnold Schoenberg’s Piano Piece Op. 11, No. 3.
Arnold Schoenberg's theory of music has been much discussed but his approach to music theory needs a new historical and theoretical assessment in order to provide a clearer understanding of his contributions to music theory and analysis. Norton Dudeque's achievement in this book involves the synthesis of Schoenberg's theoretical ideas from the whole of the composer's working life, including material only published well after his death. The book discusses Schoenberg's rejection of his German music theory heritage and past approaches to music-theory pedagogy, the need for looking at musical structures differently and to avoid aesthetic and stylistic issues. Dudeque provides a unique understanding of the systematization of Schoenberg's tonal-harmonic theory, thematic/motivic-development theory and the links with contemporary and past music theories. The book is complemented by a special section that explores the practical application of the theoretical material already discussed. The focus of this section is on Schoenberg's analytical practice, and the author's response to it. Norton Dudeque therefore provides a comprehensive understanding of Schoenberg's thinking on tonal harmony, motive and form that has hitherto not been attempted.
Table of Contents
Contents: Preface; Introduction; Some aspects of Schoenberg's inheritance of 19th-century music theory; Speculative and polemical content in Schoenberg's tonal theory; A contribution towards a systematic presentation of tonal harmony; A contribution towards a systematic presentation of the technique of thematic development; Analyses; Concluding remarks; Glossary of terms; Bibliography; Index.