The Emancipation of Dissonance: Schoenbergs Two Practices of Composition
Identifieur interne : 000047 ( Main/Exploration ); précédent : 000046; suivant : 000048The Emancipation of Dissonance: Schoenbergs Two Practices of Composition
Auteurs : Stephen Hinton [États-Unis]Source :
- 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.
Url:
DOI: 10.1093/ml/gcq092
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: 000144
- to stream Istex, to step Curation: 000122
- to stream Istex, to step Checkpoint: 000026
- to stream Main, to step Merge: 000060
- to stream Main, to step Curation: 000060
Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>The Emancipation of Dissonance: Schoenbergs Two Practices of Composition</title><author wicri:is="90%"><name sortKey="Hinton, Stephen" sort="Hinton, Stephen" uniqKey="Hinton S" first="Stephen" last="Hinton">Stephen Hinton</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:FAE28BBFFF12E04C3CA8B1876F34AE688DF370E0</idno><date when="2010" year="2010">2010</date><idno type="doi">10.1093/ml/gcq092</idno><idno type="url">https://api.istex.fr/document/FAE28BBFFF12E04C3CA8B1876F34AE688DF370E0/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000144</idno><idno type="wicri:Area/Istex/Curation">000122</idno><idno type="wicri:Area/Istex/Checkpoint">000026</idno><idno type="wicri:doubleKey">0027-4224:2010:Hinton S:the:emancipation:of</idno><idno type="wicri:Area/Main/Merge">000060</idno><idno type="wicri:Area/Main/Curation">000060</idno><idno type="wicri:Area/Main/Exploration">000047</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">The Emancipation of Dissonance: Schoenbergs Two Practices of Composition</title><author wicri:is="90%"><name sortKey="Hinton, Stephen" sort="Hinton, Stephen" uniqKey="Hinton S" first="Stephen" last="Hinton">Stephen Hinton</name><affiliation wicri:level="1"><country wicri:rule="url">États-Unis</country></affiliation></author></analytic><monogr></monogr><series><title level="j">Music and Letters</title><idno type="ISSN">0027-4224</idno><idno type="eISSN">1477-4631</idno><imprint><publisher>Oxford University Press</publisher><date type="published" when="2010-11">2010-11</date><biblScope unit="volume">91</biblScope><biblScope unit="issue">4</biblScope><biblScope unit="page" from="568">568</biblScope><biblScope unit="page" to="579">579</biblScope></imprint><idno type="ISSN">0027-4224</idno></series><idno type="istex">FAE28BBFFF12E04C3CA8B1876F34AE688DF370E0</idno><idno type="DOI">10.1093/ml/gcq092</idno><idno type="ArticleID">gcq092</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0027-4224</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="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.</div></front></TEI><affiliations><list><country><li>États-Unis</li></country></list><tree><country name="États-Unis"><noRegion><name sortKey="Hinton, Stephen" sort="Hinton, Stephen" uniqKey="Hinton S" first="Stephen" last="Hinton">Stephen Hinton</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/MonteverdiV1/Data/Main/Exploration
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000047 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd -nk 000047 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= MonteverdiV1
|flux= Main
|étape= Exploration
|type= RBID
|clé= ISTEX:FAE28BBFFF12E04C3CA8B1876F34AE688DF370E0
|texte= The Emancipation of Dissonance: Schoenbergs Two Practices of Composition
}}
| This area was generated with Dilib version V0.6.21. |  |