Folks:
A few followup elements:
(1) The "How to read for musicological content" handout is now up under "Resources." Please assimilate this method and use it; it will help you keep up.
(2) On the blog, please read, and be prepared to respond to DQ's for, Watkins 38-44.
(3) On WebCT under "Materials - Week 03 - Audio", please listen to (at least excerpts from) Schoenberg's "Book of the Hanging Gardens," the Second String Quartet, and Five Orchestral Pieces Op. 16 (in addition to the Webern works also located there and discussed in Watkins 38-44. For these 3 Schoenberg pieces, think about these issues:
* "Hanging Gardens": how is dissonance handled? What is the impact of this handling on (a) functional harmony; (b) phrase structure; (c) texture? What other SHMRG elemetns gain in importance?
* Second String Quartet: what is the formal structure? Does tonality play an organizing role? See Watkins's discussion, particularly of the programmatic significance of quotation and allusion in this piece.
* Five Orchestral Pieces op. 16: listen for and be prepared to discuss the formal significance of contrast in this piece. What role does motivic and/or thematic development play in this work? WHY does it play such a role?
See you Thursday.
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1 comment:
On listening to Book of the Hanging Gardens: The main observation that I had from this work was that the vocal line seemed to be very near to what one might expect from a typical romantic era Lied. I heard lots of prolongation of what should have been dissonences against the harmony. The strange thing is that piano wasn't playing along. You still get a sense of stress at the key points from the singer emphasizing the correct notes, but it doesn't have the same effect.
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