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Composition with twelve notes related only to one another

Author: Josef Rufer; Humphrey Searle
Publisher: London : Barrie and Rockliff, [1961]
Edition/Format:   Print book : Biography : English : [Second impression revised]View all editions and formats
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Genre/Form: Bibliography
Named Person: Arnold Schoenberg; Arnold Schoenberg; Arnold Schoenberg; Arnold Schoenberg
Material Type: Biography
Document Type: Book
All Authors / Contributors: Josef Rufer; Humphrey Searle
OCLC Number: 14702150
Notes: Translation of Die Komposition mit zwölf Tönen.
Includes index.
Musical examples: 24 p. inserted between p. 214 and 215.
"Complete list of Arnold Schoenberg's musical and literary works": p. 205-214.
"List of sources" : p. 215.
Description: xiv, 218 pages : portrait, facsimiles, music ; 23 cm
Contents: I. Schoenberg's method of "composition with twelve notes related only to one another" as part of the general theory of composition : Idea and technique ; What is twelve-note music? ; Imagination, conscious and unconscious construction. II. The development of twelve-note music : Tonality's principle of organization and its formative function ; Break-up of the major-minor tonality ; The trend towards dodecaphony in music since 1900 ; "Twelve-tonality" as the result of an organic development. III. The antecedents of twelve-note composition in the compositional technique of classical and pre-classical (polyphonic) music : The principle of repetition and the principle of variation as a means of creating shape and form ; The "connected antithesis" ; Basic "thematic" forms ; Motivic working and motivic variation ; The basic shape (Grundgestalt) and its pivotal importance in musical exposition, development and the creation of form, demonstrated in Beethoven's Sonata in C minor, Op. 10, No.1 ; The parallel with twelve-note composition. IV. The theoretical and musical bases of Schoenberg's composition with twelve notes : The emancipation of the dissonance ; The "magic square" ; The "musical space" ; Synthesis of homophonic and polyphonic development in Schoenberg's music. V. Serial composition in Schoenberg's Op. 23 and 24 as the precursor of composition with twelve notes : The basic conception (Grundgestalt) as a musical law ; The fields of force in music and their changes ; The melodic motif ; The basic shape as containing the musical thought ; The note-series as a melodic extract of the basic shape ; The Five Piano pieces, Op. 23, and the Serenade, Op. 24. VI. Composition with twelve notes : 1. The derivation of a twelve-note series from the basic shape ; Essence and function of the twelve-note series ; The principle of the intervals ; The four forms of a twelve-note series ; The principle of the co-ordination of the vertical and the horizontal dimensions in music. 2. The twelve-note series in practical composition : I. Structure of a twelve-note series ; II. Mirror forms ; III. Use of the twelve-note series or its notes in the horizontal and vertical dimensions ; IV. Transpositions of a twelve-note series ; V. Change of octave pitch --
formation of complementary intervals ; VI. Repetition of notes ; VII. Avoidance of octave doubling ; VIII. Sub-division of a twelve-note series --
formation of note-groups ; IX. The invention of a twelve-note series ; X. Alterations in the twelve-note series ; XI. Corresponding intervals and note-groups ; XII. The interval-structure of the twelve-note series --
specially constructed series ; XIII. The meaning of the twelve-note series for composition --
athematic music --
the use of two different series --
a new tonality ; XIV. Typology of the twelve-note series --
Questions of notation. VII. Invention and variation of twelve-note series --
the function of rhythm : 1. Melodic variations ; The isorhythmic principle ; I. Change of octave pitch ; II. Mirror forms and transpositions ; III. Distribution of a series between the vertical and horizontal dimensions ; IV. Exchange of note-groups. 2. The creation and function of harmony in twelve-note music : I. Chord-formation through part-writing ; II. Direct formation of chords from the twelve-note series ; Variations in harmony ; Tonal chord-formations ; The function of rhythm in twelve-note music ; Connection of the repetitions of series ; Choice of series. VIII. The invention of thematic material from a twelve-note series : The motivic character of the twelve-note series and the consequences of this for the technique of composition ; The "motivic interval" and "motivic rhythm" as independent elements of a musical motif ; The invention of various kinds of motivic material ; Shown in the Fourth String Quartet, Op. 37 ; The Ode to Napoleon, Op. 41 ; The Fantasy for Violin and Piano, Op. 47 ; The Three Songs, Op. 48. IX. Musical forms in twelve-note music : Schoenberg's view of form ; "Old" and new forms in Schoenberg's works ; Attempt at an analysis of the Fantasy for Violin and Piano, Op. 47.
Other Titles: Komposition mit zwölf Tönen.
Responsibility: Josef Rufer ; translated by Humphrey Searle.

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