Tripartite Structures in Schoenberg'sA Survivor from Warsaw
Bibliographic Data
| ID | 4842179 |
|---|---|
| Authors | Joe R Argentino (McMaster University), JOE ARGENTINO (McMaster University, corresponding author) |
| Year | 2013 |
| Volume | 19 |
| Issue | 1 |
| Publication date | 2013-03-01 |
| 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.19.1.1 |
| OpenAlex | W1529680098 |
| Language | EN |
| Citations received | 2 |
| References cited | 24 |
Arnold Schoenberg's Holocaust cantataA Survivor From Warsaw, op. 46 features tripartite parallelisms between his self-penned text and his highly-charged music. Tripartite structures permeate all aspects of this Holocaust cantata. Schoenberg's text includes three languages, utilizes three points of view, and key words or text descriptors are repeated three times. The three languages, three points of view, and tripartite text descriptors are consistent with tripartite elements in the music ofA Survivor from Warsaw. The music that accompanies Schoenberg's highly-charged text contains form-defining small- and large-scale cycles that consistently feature some form of a [0,4,8] trichord. The omnipresence of the [0,4,8] trichord and tripartite divisions throughoutA Survivor form Warsawsymbolically represent God's presence throughout the work
Art · Art history · Omnipresence · The Holocaust · Theology · Computer Science · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy
| Citations per year | 0.25 |
|---|---|
| Citation span | 2018 - 2020 (3) |
| Highly cited | No |