Professional Documents
Culture Documents
Index
I32-4 6
Mikrokosmos, 49, 54-5
no. 109 (,From the Island of Bali'), 55
no. 122 ('Chords Together and
Opposed'), 55
no. 131 ('Fourths'), 55, 131
no. 132 ('Major Seconds Broken and
Together'), 55
no. 133 ('Syncopation', 4 6, 55,47
no. 134 ('Studies in Double Notes'), 55
no. 135 ('PeIpCtuum ),tobile'), 55
no. 136 ('Whole-tone Scale'), 46, 48, 55
no. 140 ('Free Variations'), 52-4
no. 141 ('Subject and Reflection'), 50
no. 153 ('Six Dances in Bulgarian
Rhythm', no. 6), Lp n7)
Music for Strings, Percussion and Celesta, 49,
54,55
Petite Suite for Piano, 49
SoTlflidfor Solo Vwiin, 44-5, +8, 50, 51, 45,
47
Sotwtafor Two Pianos and Percussion, 48-9
String Qymtet no. 4, 147
String QJwrtet no. 5, 42, 49 50, 51, 55
String QJwrtet no. 6, 55
150
INDEX
dissonance(s)
emancipated, see emancipated dissonance
functional, 18-19
Schenkerian analysis and, 18-19
Schoenberg on, 1-2
dodecaphony, see serialism
dominant sevenths, octatonic scale and, 6
Dunsby, Jonathan, x
Eimert, Herbert, 120, 124
emancipated dissonance, I, 2, 18-19
acceptance as term, 4
context and, 2
pitch-class sets and, 6
tonality and, 6
endings, 72
equivalence, II6, 118-20
Etpf, Hermann, II7(Il4)
extended tonality, see under tonality
Falck, Robert, I, 131
Fibonacci sequence, 136
figured bass, 2,4-5, 6, 19
folk music
Bartok and, 35, 43, 132 , 141(n7), 147
Berg and, 82
foreground/background analysis, 82
form, see structure
Forte, Allen
analyses, 131
on complementation, 122
on interval vectors, 123
on normal order, 122(m I)
pitch-class set classificationltheory, 30,
59(021), 1I6, II9, 12:)4
on rhythm, 147
on Schenkerian analysis, 21(n2)
on segmentation, 127(m6)
on similarity, 121(mo)
Frank, Oszlcir, 54
Friedman, Michael L., 67(n32)
Fuchs-Robettin, Hanna, 83-5
Gable, David, III
George, Stefan, 127
German sixth, 43
Germany, cultural/political situation, 57
Gilbert, Steven E., 2I(n2), 131
Gillies, Malcolm, 43, 45, 4 6 , 48 , 51, 54
golden section, 136
Golyscheff,Jefim, 120
Haba, Alois, I I 8
Hanson, Howard, II9, 122, 123
harmonic analysis, see chordal analysis;
see also Schenkerian analysis
harmony
atonal, IIJ27
fourth chords, 117
III,
35
III
1I8
INDEX
151
postmodernism, ix-x
post-tonality, 20
see also tonality, extended
prograrnrnatisnrr, 83-5
see also quotation
prolongation, 20
quartertones, 47-8
quotation (of pre-existing music), 27, 28,
29,82
Rachmaninoff, Sergey, 55
Rahn, john, 124(m3), 131
Rakhnrraninov, Sergey, 55
Rauchhaupt, Ursula von, 85
Ravel, Maurice, 147
recordings, 78
Redlich, Hans, 93, 95, I I I
Regener, Eric, II9, 122(nII)
rhythm, 132
analysis concerning, 134-46, 147
foreground, 132
perfonnance, 78
serialism and, see under serialism
structure and, 58, 143
tempo and, 137
rhythmic patterns, 132
Ringer, Alexander L, 43
Roland-Manuel, 4
ronrranticism, 58
Roslavetz, Nicolai, 120
Rufer, josef, 57
Ruggles, Carl
Evocations for Piano, 131
Salzer, Felix, 25
scales
notation and, 44-8
see also octatonic scales/structures;
pentatonic scales; whole-tone
scales/ chords
Schenker, Heinrich, 20, 21
analytical tenninology, 25, 29
theory of tonality, I, 20
Schenkerian analysis, 20, 21, 88
and atonality, 85-6, 88, IOI
and dissonance, 18-19
examples, 21-40
Schmalfeldt, janet, 127(nI5), 131
Schoenberg, Arnold, 4, u6, 120, 127
analysis of his own work, development
and relationship with past, 20-1,
:I'I:? also under serialism in this entry
Berg and, 81, 85, 93, 95
call for new system of pitch notation, 43
on dissonance and hannony, 1-2, 4
on
tonality, 85
tonality in, 1214, 16
152
INDEX
Schoenberg, Arnold-cont
harmonic theory, 1-2, 4, 8S, 88, 117
influence, S8
on musical logic, I
palindromic structures, 6g, 70, 72
part-writing, 16
performances of, 78
serialism
formal/structural aspects, 5,8
harmonic aspects, 57, 58, 61-4, 72-3,
81,82
own writings on, 56, 57, 58-60, 61, 63,
81,95, 1I9
structural aspects, 65, 6g,0, 72
structural harmonies, 64, 72-3
triadic/tonal structures, 81, 82
on tonality, 98
views of/responses to, x, 57-8, 63
Das Buck der hiingmd1l Giirten (op. 15), 127,
13 1
no. 5 ('Saget mir, auf welchem Pfade'),
12-1 9,15
no. 10 ('Das schone Beet betracht ich
mir im Harren '), 5, 5
no. 14 ('Sprich night immer von dem
Laub'),146
Eight Songs (op. 6)
no. I (,Traumleben'), 85
no. 7 ('Lockung'), 2, 3
Five Orchestral Pieces (op. 16), 131
Five Piano Pieces (op. 2S), 147
no. 4, 117, Il7
Four Orchestral Songs (op.
131
Herz:gewiichse (op. 20), lSI
Klavierstfick (op. 3Sb), 58,8, 57, 62, 65,
68, 70-2, 75-7
performances of, 78
series, 59
Ode to Napoleon (op. 41), 81, 82, 85, III
series, 81
Piano Concerto (op. 42), 82, III
Piano Piece (op. 33b), see Klavierstfick
Serenade (op. 24), 95
Six Little Piano Pieces (op. 19), 131
String Qyartet no: 2 (op. 10), 127
String Qyartet no. 4 (op. S7), III, 1I5, II5
Suite for Piano (op. 25), 58, 95
Three Piano Pieces (op. n), 131, 146
no. 2,
5
Two Songs (op. 14), 127
Harmonielehre (Theory of Harmony), 1-2, 85,
88, 98, 1I7(ll4L
Schorske, Carl I., 56
Schumann, Robert
Dichterliebe (op. 48), no. 10 ('Hor ich das
Liedchen klingen'), 20
Scriabin, Alexander, 55, II6
notation, 43, 54
Feuillet d'album (op. 58), 131
I
Ii
INDEX
Wason, R.W., 1
Webern, Anton, 57, 95, 1I6, Il7(1l4), 127
Berg and, 93, 95
influence, 57
rhythmic structures, 66(nSl)
Five Movementsfor String Qyartet (op. 5), lSI,
147
Fwe Piecesfor Orchestra (op. 10), lSI
Five Songs ftrmz 'Der siebente Ring' by Stefan
George (op. S), 127
Fwe Songs on Poemf rif Stefan George
(OP4), 127
no. 4 ('So ich traurig bin'), 116,
118, 121-3, 124-8, /16-q,
/18, 122
Four Piecesfor Vwlin and Piano (op. 7),
lSI
Four Stefan George Songs (1970), 127
Orchestral Pieces (19IS), 131
Six Bagatelles for String Qyartet (op. 9), lSI
no. S, 146
Six Pieces for Large Orchestra (op. 6), lSI
Three Little Pieces for Vwloncello and Piano
(op. II), 131, 147
Weigl, Bruno, 11/18
Werfel, Hanna, 83-5
153