The Emancipation of Dissonance: Schoenbergs Two Practices of Composition
Identifieur interne : 000144 ( Istex/Corpus ); précédent : 000143; suivant : 000145The Emancipation of Dissonance: Schoenbergs Two Practices of Composition
Auteurs : Stephen HintonSource :
- Music and Letters [ 0027-4224 ] ; 2010-11.
Abstract
The concept of emancipation can connote both a process and the result of that process. This ambiguity certainly applies to Schoenbergs emancipation of dissonance, as he himself called it, and is further enhanced by the association with social and subjective emancipation such as can be found in the musical writings of Theodor W. Adorno. Adornos broad historical perspective that sees the emancipation of dissonance as the outcome of a development going back via Wagner to Monteverdi prompts two questions that are addressed here: (1) To what extent is Schoenbergs atonal music linked aesthetically to Monteverdis so-called second practice (seconda prattica)? (2) Given that Schoenberg identified the emancipation of dissonance as culminating not in his atonal works (c.1910) but in the twelve-tone compositions (c.1925), and insofar as the music written according to his method of composition using twelve tones related only to one another partakes of a quite different aesthetic from the earlier freely atonal kind, is it not appropriate to talk of two distinct musical practices in a way analogous to the discourse about early seventeenth-century music in which Monteverdi became embroiled? In Schoenbergs case, however, the first practice follows the second, thereby reversing the earlier historiographical sequence.
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DOI: 10.1093/ml/gcq092
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This ambiguity certainly applies to Schoenbergs emancipation of dissonance, as he himself called it, and is further enhanced by the association with social and subjective emancipation such as can be found in the musical writings of Theodor W. Adorno. Adornos broad historical perspective that sees the emancipation of dissonance as the outcome of a development going back via Wagner to Monteverdi prompts two questions that are addressed here: (1) To what extent is Schoenbergs atonal music linked aesthetically to Monteverdis so-called second practice (seconda prattica)? (2) Given that Schoenberg identified the emancipation of dissonance as culminating not in his atonal works (c.1910) but in the twelve-tone compositions (c.1925), and insofar as the music written according to his method of composition using twelve tones related only to one another partakes of a quite different aesthetic from the earlier freely atonal kind, is it not appropriate to talk of two distinct musical practices in a way analogous to the discourse about early seventeenth-century music in which Monteverdi became embroiled? 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Adornos broad historical perspective that sees the emancipation of dissonance as the outcome of a development going back via Wagner to Monteverdi prompts two questions that are addressed here: (1) To what extent is Schoenbergs atonal music linked aesthetically to Monteverdis so-called second practice (seconda prattica)? (2) Given that Schoenberg identified the emancipation of dissonance as culminating not in his atonal works (c.1910) but in the twelve-tone compositions (c.1925), and insofar as the music written according to his method of composition using twelve tones related only to one another partakes of a quite different aesthetic from the earlier freely atonal kind, is it not appropriate to talk of two distinct musical practices in a way analogous to the discourse about early seventeenth-century music in which Monteverdi became embroiled? 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(2) Given that Schoenberg identified the emancipation of dissonance as culminating not in his atonal works (c.1910) but in the twelve-tone compositions (c.1925), and insofar as the music written according to his method of composition using twelve tones related only to one another partakes of a quite different aesthetic from the earlier freely atonal kind, is it not appropriate to talk of two distinct musical practices in a way analogous to the discourse about early seventeenth-century music in which Monteverdi became embroiled? 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Email: <email>shinton@stanford.edu</email>.</corresp></author-notes><pub-date pub-type="ppub"><month>11</month><year>2010</year></pub-date><pub-date pub-type="epub"><day>10</day><month>12</month><year>2010</year></pub-date><volume>91</volume><issue>4</issue><fpage>568</fpage><lpage>579</lpage><permissions><copyright-statement>© The Author (2010). Published by Oxford University Press. All rights reserved.</copyright-statement><copyright-year>2010</copyright-year></permissions><abstract><p>The concept of emancipation can connote both a process and the result of that process. This ambiguity certainly applies to Schoenberg’s ‘emancipation of dissonance’, as he himself called it, and is further enhanced by the association with social and subjective emancipation such as can be found in the musical writings of Theodor W. Adorno. Adorno’s broad historical perspective that sees the ‘emancipation of dissonance’ as the outcome of a development going back via Wagner to Monteverdi prompts two questions that are addressed here: (1) To what extent is Schoenberg’s atonal music linked aesthetically to Monteverdi’s so-called ‘second practice’ (<italic>seconda prattica</italic>)? (2) Given that Schoenberg identified the emancipation of dissonance as culminating not in his atonal works (<italic>c</italic>.1910) but in the twelve-tone compositions (<italic>c</italic>.1925), and insofar as the music written according to his ‘method of composition using twelve tones related only to one another’ partakes of a quite different aesthetic from the earlier ‘freely atonal’ kind, is it not appropriate to talk of two distinct musical practices in a way analogous to the discourse about early seventeenth-century music in which Monteverdi became embroiled? In Schoenberg’s case, however, the first practice follows the second, thereby reversing the earlier historiographical sequence.</p></abstract></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>The Emancipation of Dissonance: Schoenbergs Two Practices of Composition</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>The Emancipation of Dissonance: Schoenbergs Two Practices of Composition</title></titleInfo><name type="personal"><namePart type="given">Stephen</namePart><namePart type="family">Hinton</namePart><affiliation>E-mail: shinton@stanford.edu</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article">research-article</genre><subject><topic>Articles</topic></subject><originInfo><publisher>Oxford University Press</publisher><dateIssued encoding="w3cdtf">2010-11</dateIssued><dateCreated encoding="w3cdtf">2010-12-10</dateCreated><copyrightDate encoding="w3cdtf">2010</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract>The concept of emancipation can connote both a process and the result of that process. 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