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Day 2

The document discusses the musical evolution of Arnold Schoenberg, focusing on his atonal period (1908-1921) characterized by expressionism and works like 'Drei Klavierstücke' and 'Pierrot Lunaire', and his 12-tone period (1920-1951) which introduced a new compositional technique. It also compares Schoenberg's style with his students, Anton Webern and Alban Berg, highlighting their distinct approaches to music. Key questions are posed regarding the creation of musical unity through tone rows and the differences in style among the composers.

Uploaded by

Elijah Paul
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PPTX, PDF, TXT or read online on Scribd

Topics covered

  • musical language,
  • German music,
  • Drei Klavierstücke,
  • emotional experience,
  • interpretation,
  • composition techniques,
  • instrumentation,
  • musical form,
  • 20th-century music,
  • avant-garde
22 views5 pages

Day 2

The document discusses the musical evolution of Arnold Schoenberg, focusing on his atonal period (1908-1921) characterized by expressionism and works like 'Drei Klavierstücke' and 'Pierrot Lunaire', and his 12-tone period (1920-1951) which introduced a new compositional technique. It also compares Schoenberg's style with his students, Anton Webern and Alban Berg, highlighting their distinct approaches to music. Key questions are posed regarding the creation of musical unity through tone rows and the differences in style among the composers.

Uploaded by

Elijah Paul
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd

Topics covered

  • musical language,
  • German music,
  • Drei Klavierstücke,
  • emotional experience,
  • interpretation,
  • composition techniques,
  • instrumentation,
  • musical form,
  • 20th-century music,
  • avant-garde

Schoenberg and his

students
Schoenberg’s Atonal Period
(1908-1921)
- Drei Klavierstücke, Op. 11 (1908/1909)

Expressionism
- Express the meaning of emotional experience rather than physical
reality
- Erwartung, Op. 17 (1909)
“In Erwartung the aim is to represent in slow motion everything that occurs during a single second
of maximum spiritual excitement, stretching it out to half an hour.” – Schoenberg
- Pierrot Lunaire (1912)
- Sprechstimme
- Instrumentation: Voice, Piano, Flute (piccolo), Clarinet (bass clarinet), Violin (viola), cello
Schoenberg’s 12-tone period
(1920-1951)
In 1921 he told his students “Today I have discovered something which
will assure the supremacy of German music for the next 100 years.”
- Suite for piano, Op. 25
- Moses and Aron

Questions:
How does Schoenberg create musical “unity” with his tone rows?

Is this technique related to Schoenberg’s other composition technique?

Does he always use his tone rows linearly?


Schoenberg vs. Webern vs. Berg
Things to think about:

1. How are they different?

2. How would you describe their styles in musical or textural terms?

3. Anything interesting that you notice?


Anton Webern
- In 1904, he became a student of Schoenberg
- Five pieces for Orchestra, Op.10
- Klangfarbenmelodie: Style of composition that employs several
different tone colors on a single pitch or to multiple pitches
Symphony, Op.21
Questions:
How did Webern construct his tone row?

What is the texture of the first movement?

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