Fundamentals of musical composition by Arnold Schoenberg, Gerald Strang, Leonard Stein

By Arnold Schoenberg, Gerald Strang, Leonard Stein

A reissue of a vintage that represents the fruits of over forty years in Schoenberg's existence dedicated to the educating of musical ideas to scholars and composers in Europe and the US. For his sessions, he constructed a way of presentation within which "every technical subject is mentioned in a truly primary means, in order that whilst it really is either uncomplicated and thorough". This publication can be utilized for research in addition to for composition. at the one hand, it has the sensible aim of introducing scholars to the method of composing in a scientific manner, from the smallest to the most important kinds; nonetheless, the writer analyzes intimately, with a number of illustrations, these specific sections within the works of the masters which relate to the compositional challenge less than dialogue

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Fundamentals of musical composition

A reissue of a vintage that represents the fruits of over forty years in Schoenberg's existence dedicated to the educating of musical ideas to scholars and composers in Europe and the United States. For his periods, he constructed a way of presentation during which "every technical topic is mentioned in a truly primary approach, in order that while it's either uncomplicated and thorough".

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15 Since infants in the womb react both to unstructured noise and to music with movements which their mothers can feel, it seems likely that auditory perception prompts the baby’s first realization that there is something beyond itself to which it is nevertheless related. After birth, vocal interchange between mother and infant continues to reinforce mutual attachment, although vision soon becomes equally important. The crooning, cooing tones and rhythms which most mothers use when addressing babies are initially more significant in cementing the relationship between them than the words which accompany these vocalizations.

Some people feel impelled to beat time with their feet or drum with their fingers, thereby disturbing other listeners. There are tracings recording the increase in Herbert von Karajan’s pulse-rate while conducting Beethoven’s Overture, Leonora No. 3. Interestingly, his pulse-rate showed the greatest increase during those passages which most moved him emotionally, and not during those in which he was making the greatest physical effort. 3 Music is said to soothe the savage breast, but it may also powerfully excite it.

In other words, he tries to derive all music from the yodel. It is true that musical sounds are used by pre-literate people for communication at a distance, and that wind instruments of considerable carrying power have been invented for this purpose. 19 Signalling by means of drums and horns is a widespread practice in Africa and elsewhere. Even so, communication using musical sounds is not itself music, and there is no direct evidence that such signals became transmuted into music. Révész’s theory also fails to account for the rhythmic element in music, which ethnomusicologists find to be fundamentally important.

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