Relevant bibliographies by topics / Harmonielehre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Harmonielehre'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Harmonielehre"

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Dineen, Murray. "Schoenberg and the Radical Economies of Harmonielehre." Culture Unbound 1, no. 1 (June 11, 2009): 105–35. http://dx.doi.org/10.3384/cu.2000.1525.0918105.

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This article examines Schoenberg’s Harmonielehre as a text shaped by the influence of Central European science and politics. In accord with a severely economical approach to his subject, Schoenberg’s critique of figured bass and chorale harmonization is compared with Ernst Mach’s writings on scientific method. In support of this comparison, the article addresses the role played in Schoenberg’s political development by the Leftist editor and organizer, David J. Bach, one of Schoenberg’s closest childhood friends and a student of Mach. The comparison between Schoenberg and Mach, then, is drawn not only in terms of scientific method but also in light of the radical politics of the Austrian Left at the time, a politics for which both Mach and Schoenberg held sympathies. It should not be overlooked that later, however, they ceased to acknowledge these sympathies explicitly, and Schoenberg would appear to have abandoned them entirely.
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Aerts, Hans. "Semidissonanzen. Ein Beitrag zur Didaktik der Harmonielehre." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 16, no. 2 (2019): 29–50. http://dx.doi.org/10.31751/1023.

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Spurný, Lubomír. "Was ist neu an Hábas Neuer Harmonielehre?" Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 4, no. 3 (2007): 323–28. http://dx.doi.org/10.31751/264.

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Marston, Nicholas. "‘ … nur ein Gleichnis’: Heinrich Schenker and the Path To ‘Likeness’." Music and Letters 100, no. 2 (May 1, 2019): 271–301. http://dx.doi.org/10.1093/ml/gcz021.

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Abstract This article introduces to Schenker scholarship a virtually unknown, unfinished text, ‘Der Weg zum Gleichniss’ (‘The Path to Likeness’). I date it to the decade following 1895, and more specifically to 1902–4: thus, between ‘Der Geist der musikalischen Technik’ and Harmonielehre (1906). ‘Geist’ has for more than thirty years been repeatedly re-examined for its negative account of organicism in music; I show that the ‘Gleichniss’ text both reiterates Schenker’s position and argues that, through the controlling concept of ‘likeness’, music succeeded in elevating itself to the level of ‘a distinct, second, artificial and higher nature’. In short, this text may represent the ‘missing link’ between ‘Geist’ and the more positively organicist Harmonielehre. Finally, I ponder the context of ‘Geist’ and the background to Schenker’s idiosyncratic use of the term ‘Gleichniss’: this leads both forwards to the 1933 article ‘Was wird aus der Musik?’ and backwards to the Old Testament.
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Lüdemann, Winfried. "Diabolus in musica : Hugo Distlers unveröffentlichte Opern- und Oratoriumstexte." Schütz-Jahrbuch 31 (July 20, 2017): 35–60. http://dx.doi.org/10.13141/sjb.v2009597.

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Hugo Distler war neben seiner Tätigkeit als Komponist und Musiker auch als Verfasser zahlreicher Aufsätze und Zeitungsberichte tätig. Er verfasste auch ein pädagogisches Werk, eine funktionelle Harmonielehre. Ferner besaß Distler eine starke schriftstellerisch-dramaturgische Begabung. Im Hugo-Distler-Archiv in Lübeck liegen zwei selbstverfasste Texte zu groß angelegten, aber unvollendet gebliebenen Werken. Diese Texte werden hier betrachtet.
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Bali, János. "„Dieses Buch habe ich von meinen Schülern gelernt”." Mester és Tanítvány 1, no. 1 (September 20, 2023): 127–30. http://dx.doi.org/10.61178/mt.2023.i.1.8.

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„Ezt a könyvet a tanítványaimtól tanultam” – az esszé Arnold Schöberg híres összhangzattankönyvéből (Harmonielehre, 1911) kapta a címét, és első részében a schönbergi pedagógia nyitottságát méltatja: mennyire a növendék volt számára a legfontosabb, és hogyan összpontosított a kutatói attitűdre. Az esszé második része három olyan eseményt hoz fel a szerző korábbi pedagógiai tapasztalataiból, amikor a fiatal tanulókkal folytatott párbeszéd a zenei észlelés és megismerés működésének jobb megértéséhez vezette.
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Vidic, Roberta. "»Non confundentur«. Von der gelehrten ›Palestrinesca pratica‹ zur Harmonielehre." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 12, no. 2 (2015): 157–78. http://dx.doi.org/10.31751/827.

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Alt, Norbert, and Stephan Jochum. "Sound-Design unter den Aspekten der Harmonielehre der Musik." MTZ - Motortechnische Zeitschrift 64, no. 1 (January 2003): 48–56. http://dx.doi.org/10.1007/bf03226679.

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Federhofer, Hellmut. "Johann Joseph Fux (1660-1741) und die Kontrapunktlehre." Die Musikforschung 46, no. 2 (September 22, 2021): 157–70. http://dx.doi.org/10.52412/mf.1993.h2.1152.

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Der strenge Satz wurde als Voraussetzung für einen geregelten Kompositionsunterricht betrachtet und diente als Grundlage für den freien Satz - zum Beispiel bei Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn. Die Verleugnung der Einheit von strengem und freiem Satz führte seit dem Ende des 18. Jahrhunderts zu einer zunehmenden Entfremdung von Theorie und Praxis. Heinrich Schenkers Bemühung, dem Zusammenschluß von Kontrapunkt und Harmonielehre eine theoretische Begründung zu geben, führte wieder zu Fux "Gradus ad Parnassum" zurück. (Autor)
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Stephan, Rudolf. "Zum Thema "Schönberg und Bach"." Bach-Jahrbuch 64 (March 22, 2018): 232–44. http://dx.doi.org/10.13141/bjb.v19782062.

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Es ist kein Zufall, dass Bach in Schönbergs "Harmonielehre" (1911) der am häufigsten zitierte Komponist ist. In dieser Frühzeit Schönbergs ist ein herausragender Bach-Einfluss deutlich zu spüren, wie das Beispiel eines typischen Bach-Satzes im Pierrot lunaire (1912) zeigt. Des Weiteren werden Schönbergs Orchestrierung des Orgelchorals BWV 654 (1921) und seine Anmerkungen zu H. Schenkers Analyse des Präludiums in Es-Moll BWV 853 diskutiert, die darauf hinweisen, dass musikalische Logik ohne motivischen Bezug nicht möglich ist. (Übertragung des englischen Resümees am Ende des Bandes)
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Dissertations / Theses on the topic "Harmonielehre"

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Strovas, Scott M. "Musical Aesthetics and Creative Identification in Two Harmonielehren by John Adams and Arnold Schoenberg." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/46.

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The music of John Adams (b. 1947) exemplifies a reinvestment in traditional instrumental genres and musical values that began to take place in contemporary music in the late 1970s and early '80s. His Harmonielehre for orchestra (1984-85) meets many of the conditions of the symphonic genre, including its scoring for full orchestral forces, its multi-movement structure, its presentation of contrary, dialectical melodic gestures, and its dramatic thematic and harmonic conflict. It is thus ironic that Adams would title his composition after a treatise written by Arnold Schoenberg, a figure whose break from the musical past inspired many of the complex and experimental musical models that arose between the publication of his own Harmonielehre (1911, rev. 1922) and that of Adams. But to conclude that Adams' composition is a statement about tonality is perhaps over-simplistic. Examination of the two works reveals more similarities between the composers' artistic philosophies than differences. This dissertation is an attempt to expose these similarities in order to discover the motivations behind Adams' curious decision to title his composition after Schoenberg's treatise, and to gain a deeper understanding of the artistic priorities shared by both composers that arises from the interrelationship between their respective Harmonielehren. Adams' title is partly a marker of the types of Romantic-era stylizations that pervade his score. But I argue that the relationship between the two Harmonielehren is not merely cursory. Prevalent themes within Schoenberg's prose can inform the analysis and interpretation of Adams' composition. Adams draws on Schoenberg's treatise as a signifier of his creative identification, one that both complements and departs from the creative model presented in Schoenberg's text. Both Harmonielehren confront the aesthetic expectations of their individual times and places, but while Schoenberg centers his creative identification in a discourse of restless inquiry into new materials and models of musical expression, Adams seemingly subscribes to Schoenberg's presentation of composition as craft, as the working-with and fitting-together-of the pre-existing sound vocabularies of music.
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Conlon, Colleen Marie. "The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9855/.

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Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.
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Schröder, Gesine. "Hermann Kretzschmars Kompositionen." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60530.

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Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.
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McGinnis, Julie Kay 1959. "German Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publication." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282202.

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As a result of the French Revolution and its aftermath, the early nineteenth century saw substantial social changes in Germany which fueled unprecedented activity in the field of music theory. The more progressive democratic spirit introduced to Germany by early Napoleonic reforms was a major factor in the solidifying of a real class consciousness among the bourgeoisie and, perhaps more importantly, a strong sense of pride in this newly defined identity. This fact helps to explain the increased public interest in the more sophisticated aspects of music such as wazzu music theory, and the founding of music institutes to satisfy these new demands. The ability of musicians to pursue teaching as a profession, coupled with technological innovations in the printing and publishing industries, enabled music theorists to publish their pedagogical methods and theoretical notions. These publications, collectively referred to as the German Harmonielehren, contain important innovations in music theory pedagogy. During the fifty year period, between 1800-1854, music theorists explored different approaches to music theory pedagogy, including the use of musical example to clarify concepts presented, different labeling public systems, and different styles of the presentation of musical concepts. These authors, generally forgotten or unacknowledged today, provide the groundwork for the unified system of labeling and terminology available to and used by today's musicians and students of music. This work includes an annotated bibliography of one hundred eighty-seven Harmonielehren. The purpose ofthe bibliography is to identify the main historical contributors to this field, and, to highlight their individual innovations and most important works. The books are briefly summarized according to content and purpose, stylistic approach, use of musical examples, chord labeling systems and library location.
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Books on the topic "Harmonielehre"

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Schoenberg, Arnold. Harmonielehre. Wien: Universal Edition, 2001.

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Kerstin, Lücker, ed. Vollständige Harmonielehre. Berlin: Frank & Timme, 2011.

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Scholz, Harald. Harmonielehre und Schulpraxis. Berlin: Lit, 2020.

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1756-1791, Mozart Wolfgang Amadeus, and Förster Emanuel Aloys 1748-1823, eds. Harmonielehre Wiener Klassik: Theorie, Satztechnik, Werkanalyse. Stuttgart: Berthold & Schwerdtner, 2002.

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Egli, Urs Martin. Hören und Nachdenken: Eine reale Harmonielehre. Aarau: NBS Nepomuk, 2003.

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Kemper-Moll, Axel. Jazz und Pop Harmonielehre: Eine Anregung zum kreativen Musikmachen. Offenbach, Main: J. André, 1994.

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Bruhn, Herbert. Harmonielehre als Grammatik der Musik: Propositionale Schemata in Musik und Sprache. München: Psychologie Verlags Union, 1988.

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Jira, Martin. Die Entwicklung der dodekaphonen Harmonik Arnold Schönbergs aus der Sicht seiner Harmonielehre. Köln: Dohr, 2010.

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Kemper-Moll, Axel. Jazz & Pop Harmonielehre: CD mit Hörbeispielen & Play-Alongs für fast alle Instrumente. Bonn: Voggenreiter, 1999.

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Antonicek, Theophil. Anton Bruckner: Lektor fur Harmonielehre und Kontrapunkt an der Universitat Wien 1875-1896. Wien: Eigenverl. d. Univ. Wien, 1996.

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Book chapters on the topic "Harmonielehre"

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Jalowetz, Heinrich. "THE HARMONIELEHRE." In Schoenberg and His World, edited by Walter Frisch, 231–37. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831937.231.

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Hameister, Anne. "Von Neudeutscher Schule zu Neuer Musik: Zukunftsvorstellungen in deutschsprachigen Harmonielehren-Debatten um 1900." In Musiktheorie und Zukunft, 185–218. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839463024-009.

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"14 Harmonielehre Harmonielehre." In Physiognomik, edited by Erika Rau and Christina Rau. Stuttgart: Karl F. Haug Verlag, 2016. http://dx.doi.org/10.1055/b-0036-133986.

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"15 Harmonielehre." In Physiognomik, edited by Erika Rau and Christina Schmidt-Rau. 2nd ed. Stuttgart: Karl F. Haug Verlag in Georg Thieme Verlag KG, 2022. http://dx.doi.org/10.1055/b-0042-190708.

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Gerster, Livia. "Grüne Harmonielehre." In Die Neuen, 157–80. Verlag C.H.BECK oHG, 2022. http://dx.doi.org/10.17104/9783406791253-157.

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"The E Minor Prelude from Bach’s Well-Tempered Clavier, Book I." In Der Tonwille, edited by Heinrich Schenker and William Drabkin, 34–40. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195122374.003.0004.

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Abstract It is immediately evident here that the Urlinie has the form of what is in essence a three-note motive, whose reproductive urge (see Harmonielehre, pp. off/ pp4-5 gives birth to countless repetitions.1 Granted, such a motive, since it has just three notes, is in itself nothing more than the elaboration [Auskomponierung] of any given space of a third, and its repetition is also, in itself, nothing more than a repetition; but here, how differently does each execution of the motive take shape, and how differently does each repetition appear! How suddenly the chords.
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Caplin, William E. "Fundamental Progressions of Harmony." In Classical Form, 23–32. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195104806.003.0003.

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Abstract The important role of harmony in defining formal functions should be evident from the preceding chapter. The intrathematic functions (such as presentation, continuation, and cadential) are especially contingent on specific types of local harmonic progression. Thus one of the earliest tasks in any formal analysis-indeed, perhaps the first task-is to determine the underlying harmony of a given passage. This chapter, a kind of brief Harmonielehre, systematically presents the fundamental harmonic progressions used by the classical composers to articulate formal functions. For ease of comparison, the progressions are exemplified as simple paradigms in the key of C major.
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Larik, Joris. "Die Unionstreue in der gemeinsamen Handelspolitik: Harmonielehre in einer sich wandelnden Klanglandschaft." In Die gemeinsame Handelspolitik der Europäischen Union, 45–70. Nomos Verlagsgesellschaft mbH & Co. KG, 2016. http://dx.doi.org/10.5771/9783845275741-45.

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McCutchan, Ann. "John Adams." In The Muse that Sings, 63–74. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0007.

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Abstract John Adams grew up in Vermont and New Hampshire. As a student at Harvard University he was active as a conductor, clarinetist, and composer. His composition teachers included Leon Kirchner, David Del Tredici, and Roger Sessions. In 1971Adams left the East Coast to establish his professional career in the San Francisco area, teaching at the San Francisco Conservatory of Music and serving as new music adviser and composer-in-residence for the San Francisco Symphony. His output spans a wide range of media: orchestra, opera, video, film, and dance, as well as electronic and chamber music. Such pieces as Harmonium and Harmonielehre (written for the San Francisco Symphony) and The Chairman Dances (from his opera Nixon in China, commissioned by the Houston Grand Opera) are among the most frequently performed contemporary American works. In 1995, he received the Grawemeyer Award for his violin Concerto, commissioned by the Minnesota Orchestra. Although he is often termed a “minimalist;’ Adams feels that his music can’t be so exactly defined.
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"Die Darstellung der Proportion und ihre Instrumente in der Kunst- und Harmonielehre des Cinquecento." In Imagination und Repräsentation, 297–320. Wilhelm Fink Verlag, 2010. http://dx.doi.org/10.30965/9783846745915_016.

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Conference papers on the topic "Harmonielehre"

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Hirschberg, Urs. "Harmonielehre for Architects - Exploring the relationship between music and architecture by scripting." In CAADRIA 2019: Intelligent & Informed. CAADRIA, 2019. http://dx.doi.org/10.52842/conf.caadria.2019.2.757.

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