Journal article
Schoenberg on Problems; or, Why the Six-Three Chord Is Dissonant
Theory and practice, Vol.37/38, pp.1-62
01/01/2012
Abstract
Arnold Schoenberg's curious ascription of dissonance to the six-three chord in his Harmonielehre reveals the positing of a unity of tonal and non-tonal music in their solving of problems of unrest in the tone, the dissonance, and the musical idea, but neither his fragmentary theoretical writings nor his interpreters have fleshed this connection out. On the contrary, the notion has arisen of a "tonal problem" as a distinguishing feature of tonal music. Drawing on blending theory and metaphor theory, I elucidate this unity by explaining Schoenberg's dialectical conceptions of the tone, the means of art (made up of consonances and dissonances), the musical work (as a presentation of the musical idea), and the evolution of perception and music and by supplementing Schoenberg's analysis of the first movement of Johannes Brahms's Piano Quartet No. 3 in minor, op. 60. These findings shed new light on Schoenberg's and indeed on Brahms's musical thought.
Details
- Title: Subtitle
- Schoenberg on Problems; or, Why the Six-Three Chord Is Dissonant
- Creators
- MATTHEW Arndt
- Resource Type
- Journal article
- Publication Details
- Theory and practice, Vol.37/38, pp.1-62
- Publisher
- Music Theory Society of New York State
- ISSN
- 0741-6156
- eISSN
- 2328-2665
- Language
- English
- Date published
- 01/01/2012
- Academic Unit
- Music
- Record Identifier
- 9984399607802771
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