Schoenberg vs. Webern: Voices of Modernism?
A Brief Discussion of
Schoenberg's Pierrot Lunaire, Op. 21
and
Webern's Six Bagatelles for String Quartet, Op. 9
(Sechs Bagatellen fur Streichquartett)
Free to Read and Print at Scribd.com.
Author: Payman Akhlaghi (1999)
Graduate Paper Toward Degree of MA in Composition | UCLA, 1999, 28 Pages
Supervising Professor: David Lefkowitz
© Copyright: 1999, 2011, Payman Akhlaghi. All rights reserved for the author.
(*) This academic paper includes background information and analysis mainly focused on
Pierrort Lunaire (Arnold Schoenberg)
; a less extensive discussion of Six
Bagatelles, Op. 9 (Anton Webern); and a certain conclusions on the nature of Modernism in 20th century classical music.
Excerpt from the Introduction:
"The primary thrust of this paper is an attempt in understanding the place of two quintessentially twentieth century compositions within our current discussion of Modernism and according to our present conclusions in the seminar for which the paper is being written. Yet, thereafter, it also tries to achieve a better understanding of Modernism itself, in the light of these two compositions. Here, something should be noted. Although at first this might seem to suggest a basically circular argument in nature, I believe it is far from being so. It should be rather considered a reflection of the dialectic relationship between the general definition of a class on one hand, and the particular species on the other. Indeed, this has been the methodology that was adopted from the outset by the seminar, and considering the illusive and controversial nature of the subject at hand, namely Modernism, it proved to have been a quite suitable approach.
