Presents one of the most important documents in twentieth century musical thought.

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.

Only Stravinsky can claim as much credit as Schoenberg for the most dramatic innovations in twentieth-century music. Inventor of the twelve-tone row, explorer of atonality and the hexachord, composer of tone poems, songs, and chamber music, and chief spokesman for the Vienna Circle, Schoenberg has become ever more influential as his successors have come to understand him. ø Fuller understanding has been delayed because many of his writings have not yet been edited or published. This volume collects four short works, each concentrated on a key issue in composition. Written in 1917, but altered and augmented many times in later years, the manuscripts edited and translated in this volume have never been published before. ø Their importance can permit no further delay since they present Schoenberg's thinking well after the publication in 1911 of Harmonielehre, his revolutionary theoretical book. The later texts provide numerous prospects for enhancing the study and appreciation of Schoenberg's compositions and theories. ø Also a painter, Schoenberg enjoyed the friendship of Kandinsky and the Berlin expressionists. This volume includes a frontispiece reproducing one of Schoenberg's paintings.

"There cannot ever be too many good books about Schoenberg, and so it is a special pleasure to welcome Constructive Dissonance, which is far beyond just 'good.' These essays cover a generous range in style and idea. Many of them also are deeply moving, and nothing could be more appropriate for the composer of our century's most fiercely intense music."--Michael Steinberg, author of The Symphony: A Listener's Guide "Although much has been written about Schoenberg, no group of essays examines his life and work in such a broad context. Here we find Schoenberg's matrix: the social, cultural, political, and artistic currents that helped shape him, and to which he made his own extraordinary contribution."--Robert P. Morgan, author of Twentieth-Century Music "As we approach the turn of this century, it is clear that Arnold Schoenberg must becounted as one of the most important figures in Western art music during the last one hundred years. Schoenberg's influence on art-music culture has not only worked its effects through his music, but also through his thinking and writing about music. This collection makes a fitting tribute to Schoenberg and does an admirable job of presenting the many facets of Schoenberg the composer, music theorist, and thinker. These thought-provoking essays present a broad range of approaches to a rich variety of topics within Schoenberg scholarship, and readers will find both familiar and not-so-familiar issues arising during the course of the volume. Constructive Dissonance is certain to become an important book for those interested in twentieth-century art music and culture, and seminal reading for anyone interested in Arnold Schoenberg and his work."--John Covach, University of North Carolina at Chapel Hill

Ferruccio Busoni's conception of the musical work derives from his multiple roles as performer, aesthetician, editor, composer, arranger, and intellectual. Drawing on unpublished scores, manuscripts, sketches and documents from the Staatsbibliothek in Berlin, concert programs from a private collection in Berkeley, acoustic recordings, information about Busoni's intellectual interests gleaned from an auction catalogue featuring the contents of his extensive library, and the published aesthetic writings, letters, and compositions, the present study offers the first comprehensive account of Busoni's work concept. By establishing connections between his ideas and his musical practice, it explores and clarifies the reasoning behind his idiosyncratic compositional style, a style characterized by a blurring of boundaries between original and borrowed material. Polystylistic mixtures of the old and new and a distinctive performance style, in which Busoni creatively altered and embellished existing texts, exemplify his practice in an age in thrall to Werktreue, when originality of idea was prized above all else.

Matters of authenticity. Chopin's Polish rhapsody / Ferdinand Gajewski -- Matters folkloric. L'emprunt, facteur de renouvellement musical dans les pays celtiques / Yves Defrance ; Gibbons in the Budapest Zoo : reflections on Hungarian folksong / Virginia James Kidd ; Folklore and reminiscence in Claude Debussy / Virginia Raad -- Matters instrumental. Frédéric Triebert (1813-1878), designer of the modern oboe : newly found archival documents featuring the inventory and auction of his musical instrument enterprise / Tula Giannini ; Marking the accord of instrument and style, 1709-1768 / Sally C. Park -- Matters naval. Jean Cras, the scientist : an explication of his navigational ruler ; Compass, la règle-rapporteur cras / Allan P. Archer -- Matters novel. Album-leaf : for piano 109 / John Davison -- Matters operatic. Naturaliste et dreyfusard : Alfred Bruneau, compositeur engagé / Jean-Max Guieu -- Deconstructive melodrama in the Hamlet of Ambroise Thomas / John Harrison ; Judith Gautier et les traductions de Parsifal / Danièle Pistone ; Gawain in opera 159 / Jerome V. Reel -- Matters operettic. The border territory between classical and broadway : a voyage ; Around and about Four saints in three acts and West Side story / Ralph P. Locke ; Manuel de Falla's early works for the theater / Elizabeth Seitz -- Matters of perception. Point-counter-point : Schoenberg meets Bach / John Daverio ; The problems of musical hermeneutics / Edward Lippman -- Matters of reception. From Haus to Konzerthaus : orchestrations of Schubert's : Erlkönig and other liede.

The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike.