Schoenberg's Turn to an "Other" World
Bibliographic Data
| ID | 4390343 |
|---|---|
| Authors | John Covach (University of North Carolina at Chapel Hill, corresponding author) |
| Year | 1995 |
| Volume | 1 |
| Issue | 5 |
| Publication date | 1995-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.1.5.1 |
| OpenAlex | W1783742923 |
| Language | EN |
| Citations received | 1 |
The present paper constitutes an extension of an earlier article in this journal. Building on the notion of musical worlding introduced in that essay, I explore Schoenberg's turn to atonality in the period of 1908 and after. I argue that Schoenberg employs atonality as a means of disrupting tonality in order to create an "other" world; this otherness is created by opening up a tension between the world of the "great German tonal masterworks" and the particular atonal piece. Schoenberg's fascination with other worlds is explored, and atonality is cast as a technical solution to an aesthetic problem that runs throughout Schoenberg's music and thought: how to represent the spiritual essence of music
Aesthetics · Art · Physics · Diverse Music Education Insights · Musicology and Musical Analysis · Neuroscience and Music Perception
| Citations per year | 0.09 |
|---|---|
| Citation span | 2015 - 2015 (1) |
| Highly cited | No |