Taste, Power, and Trying to Understand Op. 36: British Attempts to Popularize Schoenberg
Identifieur interne : 000374 ( Main/Exploration ); précédent : 000373; suivant : 000375Taste, Power, and Trying to Understand Op. 36: British Attempts to Popularize Schoenberg
Auteurs : Ben Earle [Royaume-Uni]Source :
- Music and Letters [ 0027-4224 ] ; 2003-11.
English descriptors
- Teeft :
- Adorno, Aesthetic disposition, Alban berg, Albert hall, Alexander goehr, Arnold schoenberg, Arnold whittall, Berg, Bourdieu, Christopher wintle, Compositional subject, Critique, Culture industry, Dunsby, Economic capital, First movement, First subject, Fourth quartet, Fourth string quartet, Fredric jameson, General reader, Gesammelte schriften, Goehr, Good deal, Good listener, Grammar schoolboy music, Hans keller, Harrison birtwistle, Hauptstimme, Hugh wood, Ibid, Jameson, Judgement, Keller, Large intervals, Late marxism, Lawrence kramer, Listener, Lunaire, Manchester school, Maxwell davies, Modern movement, Modern music, Modernist, Music analysis, Musical immediacy, Musical sense, Musical times, Musik, Neighbour, Neuen, Neuen musik, Oliver neighbour, Other words, Paul griffiths, Perfect marriage, Philosophie, Pierrot, Pierrot lunaire, Poco meno vivace, Prom, Schoenberg, Schoenberg chamber music, Schoenberg violin concerto, Second viennese school, Serial compositions, Serial music, Serial schoenberg, Serialism, Social distinction, Social world, Subotnik, Subsidiary group, Thematic, Theodor, Trans, Twentieth century, Viennese, Violin concerto, Whittall, Worldes blis.
Abstract
From the late 1950s onwards, significant parts of the British musical establishment became involved in vigorous proselytizing activity on behalf of the later work of Arnold Schoenberg. Over the next three decades, as many as half a dozen distinguished British writers on music produced books devoted to the explanation of this difficult repertory to non‐specialist audiences, books that have become only too familiar to generations of students taking compulsory courses on the Second Viennese School. Employing a variety of sociological and analytical methods, I provide close readings both of these texts and of key passages from that most intractable and unloved of Schoenberg's serial compositions, the Violin Concerto, Op. 36. The aim is to deliver a thorough critique of the ideological presuppositions informing British attempts to popularize music of this kind, attempts that can now safely be said to have failed.
Url:
DOI: 10.1093/ml/84.4.608
Affiliations:
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Over the next three decades, as many as half a dozen distinguished British writers on music produced books devoted to the explanation of this difficult repertory to non‐specialist audiences, books that have become only too familiar to generations of students taking compulsory courses on the Second Viennese School. Employing a variety of sociological and analytical methods, I provide close readings both of these texts and of key passages from that most intractable and unloved of Schoenberg's serial compositions, the Violin Concerto, Op. 36. 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