previous section
no next

GENERAL INDEX

A

AA' form, 119 , 262

ABA' form. See Ternary form

Absolute music, 186 , 187

Absorption, 15 , 19 , 32 , 75

Adler, Guido, 6 n

Adorno, Theodor W., 10 , 189 , 244 , 246

Allgemeine Musik-Zeitung,3

Allgemeiner Deutscher Musikverein, 212

Allusion, 15 , 32

Ansorge-Verein, 212

Antecedent-consequent structure. See Period structure; Phrase structure

Arnold, Robert, Franz, 142 , 146 , 148

Arnold Schoenberg Institute, 20 n, 29 , 56 , 69 n, 140 , 212

Asymmetry, 10 , 28 , 63 , 143 , 164 , 167 , 224

Atonality, 248 ;

conflict with tonal procedures, 249 , 258 -60, 265 -67, 270 ,271 ;

and "set consciousness," 216 n, 270 n

Auerbach, Ida, 81 , 112

Augmented chord, 10 , 53 , 84 , 99 , 104 , 127 , 128 , 164 , 243 ;

as dominant, 152 , 240 ;

as source for whole-tone scale, 91 n.

See also Vagrant chord; Whole-tone formations

Augmented sixth chord. See French sixth chord; German sixth chord; Vagrant chord

Austrian National Library, 82 n

Autographs. See Manuscripts;  Revisions; Sketches

B

Bach, David Josef, 24 , 26 , 50

Bach, J. S., 212

Bailey, Walter, 48 , 50 , 115 n, 169 , 175

Barcelona, 123

Basic shape, 206

Beethoven, Ludwig van, 201 ;

WORKS: Piano Sonata, op. 2, no. 1, 22 ;

String Quartet, op. 59, no. 1, 263 ;

String Quartet, op. 131, 185 -86;

Symphony NO. 1, op. 21, 194 ;

Symphony No.3 (Eroica), op. 55, 43 , 187 n

Benson, Mark, 187

Berg, Alban, xiii ;

analysis of Chamber Symphony No. 1, op. 9, 221 -22, 223 n, 225 , 228 ;

analysis of Gurrelieder (Gurrelieder-Führer),140 , 148 , 151 , 153 , 155 , 156 ;

analysis of Pelleas und Melisande, op. 5, 158 , 159 , 161 -62, 169 -71, 174 -75;

analysis of String Quartet No.1, op. 7, 193 -96, 200 ;

Nachlaß,82 n;

"Warum ist Schönbergs Musik so schwer verständlich?" 193 -96, 200

Berlin, 158 , 181

Binary form, 119 , 262

Bleibtreu, Karl, 66 , 181 n

Brahms, Johannes:

asymmetry of phrases in, 9 , 10 , 164 , 194 ;

"Brahms fog," 3 -4, 5 , 7 ;

Brahms tradition, 109 ;

compositional techniques of, 37 , 98 , 211 , 214 ;

influence on Schoenberg's instrumental works, 5 , 20 , 21 , 23 , 24 , 29 , 31 , 32 , 37 , 38 -39, 40 , 41 -42, 43 , 47 , 192 ;

influence on Schoenberg's songs, 5 , 50 , 52 , 66 , 71 -72, 82 ;

influence on Zemlinsky, 6 -14;

metrical techniques in, 11 , 17 , 21 -22, 24 ;

piano style of, 16 ;

thematic transformation in, 191 ;

WORKS: Academic Festival Overture, op. 80, 7 n;


324

An die Nachtigall, op. 46, no. 4, 9 ;

An ein Veilchen, op. 49, no. 2, 9 ;

Capriccio, op.76, no.1, 24 n;

Cello Sonata No. 2, op. 99, 4 n;

Dein blaues Auge, op. 59, no. 6, 9 ;

Esliebt sich so lieblich im Lenze, op. 71, no. 1, 38 -39;

Feldeinsamkeit, op. 86, no. 2, 10 n, 62 ;

Intermezzi, see Piano Pieces; Klavierstücke, see Piano Pieces; Die Kränze, op. 46, no. 1, 71 n;

Maienkätzchen, op. 107, no. 4, 9 ;

Die Mainacht, op. 43, no. 2, 9 ;

Mein wundes Herz, op. 59, no. 7, 9 , 26 n;

Piano Pieces, opp. 116 -19, 17 , 21 , 23 , 24 ;

Piano Quintet, op. 34, 22 n;

Rhapsodies, op. 79, 15 n;

Sehnsucht, op. 49, no. 3, 9 ;

Serenades, opp. 11 and 16, 29 ;

Ständchen, op. 106, no. 1, 61 ;

String Quartet No. 3, op. 67, 11 , 24 , 40 , 41 -42;

Symphony No. 2, op. 73, 11 -12, 22 n 26 n, 29 , 30 , 194 ;

Symphony No. 3, op. 90, 19 n, 22 n, 31 n;

Symphony No. 4, op. 98, 15 , 17 ;

Tragic Overture, op. 81, 21 ;

Violin Sonata No. 1, op. 78, 262 ;

"Von waldbekränzter Höhe," op. 57, no. 1, 9 ;

Waldesnacht, op.62, no. 3, 63 -64;

"Wie bist du, meine Königin," op. 32, no. 9, 9 ;

Wie Melodien zieht es mir, op. 105, no. 1, 9 .

See also Hemiola; Meter; Motivic development

Brinkmann, Reinhold, 246

C

Canon, 23 , 43 , 44

Chaconne, 156

Challier, Ernst, 51

Cherlin, Michael, 193 n

Chromatic harmony. See Diminished-seventh chord; French sixth chord; German sixth chord; Half-diminished seventh chord; Vagrant chord

Chromatic voice-leading. See Stepwise voice-leading

Coda, 26 , 32 , 133 , 150 , 228 , 245 , 249 , 255 , 259 , 262 , 269 , 271

"Color" chord, 94 -97

Color complementarity, 94

Concept sketch. See Sketches

Concerning the Spiritual in Art (Kandinsky), 94

Cone, Edward T., 96 , 97

Conradi, Hermann, 181 , 216

Counterpoint, 23 , 43 , 177 , 181 , 184 , 189 , 201 , 232 , 249 , 257 , 259 , 269 , 270 .

See also Canon; Fugato; Fugue; Invertible counterpoint

Cyclin form, 258 , 259 , 267 , 268 .

See also Recapitulation

D

Dahlhaus, Carl, xiii , 33 n, 113 , 114 , 212

Debussy, Claude, 199

Dehmel, Richard, 50 , 248 ;

influence on Schoenberg, 67 , 110 ;

Schoenberg's settings of, see Index of Schoenberg's Compositions under individual song titles; POEMS AND COLLECTIONS:  Aber die Liebe,66 n, 67 , 72 ;

"Alles," 216 ;

"Entbietung," 82 n;

"Erhebung, 82 , 83 , 105 ;

Erlösungen,66 n;

"Erwartung," 82 , 83 , 92 -98, 108 , 110 ;

"Gethsemane," 83 ;

"Jesus bettelt," 99 -104;

"Mädchenfrühling," 68 -72;

"Nichtdoch!" 72 -75;

"I'm Reich der Liebe," 98 -99;

"Ein Stelldichein," 216 ;

"Verklärte Nacht," 83 , 110 -13;

Weib und Welt,67 , 79 -82, 83 , 93 , 100 , 110 ;

Zwei Menschen,112

Developing variation, 70 -71, 86 , 87 n, 105 , 252 .

See also Motivic development; Thematic transformation

Development (section), 115 , 116 ;

in Chamber Symphony No. 1, op. 9, 220 , 224 , 225 -26, 244 , 255 ;

in Schilflied,53 ;

in Serenade for Small Orchestra, 29 -31;

in String Quartet in D Major, 37 ;

in String Quartet No. 1, op. 7, 189 , 206 , 208 ;

in String Quartet No. 2, op. 10, 259 , 262 , 263 , 269 , 270 ;

in Verklärte Nacht,114 , 116 , 121 .

See also Motivic development; Recapitulation; Retransition; Sonata form

Diminished-seventh chord:

in Chamber Symphony No. 1, 230 ;

in early piano works, 24 ;

in early songs, 84 , 85 , 102 ;

in Gurrelieder,147 , 148 , 150 -51;

in Pelleas und Melisande,173 ;

in Serenade for Small Orchestra, 31 , 32 , 37 ;

in String Quartet in D Major, 46 ;

in String Quartet No. 1, 197 ;

in Verklärte Nacht,128 , 129 , 134 , 136 .

See also Vagrant chord

Dominant preparation, 29 , 41 , 75 , 107 -8, 116 , 129 -30, 135 , 155 , 173 , 211 , 231

Dominant seventh chord, 31 , 74 , 96 , 103 -4, 134 , 163 -64, 196 -97, 200 , 236 , 254 -55, 270 ;

with added tones, 96 , 174 ;

as alteration of half-diminishe seventh, 254 ;

altered to French sixth, 91 ;

relation to German sixth chord, 135 , 165 , 172 -73, 238 ;

as vagrant chord, 182 .


325

See also Dominant preparation; German sixth chord

Door, Anton, 7

Double exposition. See Exposition; Sonata form

Double recapitulation, 227 -28, 229 -30.

See also Recapitulation; Sonata form

Dvorak[*] , Antonín, 29 , 37 , 38 -39, 61

E

Emulation, 14 , 16 , 32 , 62 , 211

Exposition, 11 -12, 115 , 213 -14, 261 ;

in Chamber Symphony No. 1 op. 9, 222 -24, 227 , 230 , 251 ;

in Chamber Symphony No. 2, op. 38, 252 ;

in Schilflied,53 ;

in Serenade for Small Orchestra, 29 ;

in String Quarter in D. Major, 33 -37;

in String Quarter No. 1, op. 7, 189 , 208 ;

in String Quartet No. 2, op. 10, 259 , 262 , 263 , 269 , 270 ;

in Verklärte Nacht,116 .

See also Sonata form

F

Falke, Gustav, 109

Film technique, 143

Fitzner Quartet, 33

Fl;uctuating tonality, 153 , 252

Folk style, 50 , 61 , 67 , 79

Form. See Binary form; Rondo form; Sonata form; Ternary form

Forte, Allen, xiv , 216 n, 270

Fourths, 232 -36, 244 , 255 -57

Frankfurt, 212

French sixth chord, 84 , 86 n, 91 , 103 , 104 , 200 .

See also Augmented chord; Vagrant chord; Whole-tone formations

Friedheim, Philip, 169 , 223 -24, 237 n

Fuchs, Robert, 7 , 29

Fugato, 189 -90

Fugue, 185 , 186 , 189

G

George, Stefan, 66 , 259 , 267 -68, 272

Gerlach, Reinhard, 37 -38

German sixth chord, 32 , 37 , 47 , 53 , 65 , 99 , 130 ,135 , 136 , 147 , 165 , 168 , 172 , 182 , 200 , 238 , 240 ;

derivation of, 135.

See also Dominant seventh chord; Vagrant chord

Gerstl, Richard, 268

Gesellschaft der Musikfreunde, 7 n, 33

Glienke, Bernhard, 143 , 144 , 145 , 146

Goethe, Johann Wolfgang von, 66 , 80 , 248

Gold, Alfred, 51

Grundgestalt,206

H

Half-diminished seventh chord:

in Chamber Symphony No. 2, op. 38, 253 -54;

in Gethsemane,83 ;

in Im Reich der Liebe,99 ;

in Jesus bettelt,201 , 103 , 104 ;

in Mädchenfrühling,69 , 70 ;

in Mannesbangen,84 , 85 , 87 ;

in Pelleas und Melisande,164 , 168 , 173 , 174 ;

in Presto in A Minor, 24 , 26 , 27 ;

in Schilflied,52 ;

in String Quarter No. 1, op. 7, 197 ;

in Verklärte Nacht,   127 -28, 129 .

See also Pre-dominant chord; Vagrant chord

Harmonic congruence, 9 , 39

Harmony. See Diminished-seventh chord; Dominant seventh chord; French sixth chord; German sixth chord;Half-diminished seventh chord; Vagrant chord

Hart, Julius, 66

Hauptmann, Gerhard, 248

Haydn, Franz Joseph, 261

Hehemann, Max, 213

Hrmiola, 11 , 17 , 39 -40, 70 , 91 , 192 .

See also Brahms, Johannes; Meter

Heyse, Paul, 20 , 50 , 61 , 62 , 63 , 66 , 75 , 79

Hofmannsthal, Hugo von. 80

I

Iambic pentameter, 146

Inversional balance, 186

Invertible counterpoint, 11 , 195 , 216 -18.

See also Counterpoint

J

Jacobsen, Jens Peter, 141 , 142

Jugendstil, 94

K

Kandinsky, Wassily, 94

Keller, Gottfried, 248

Klangfarbe, 42

Knittelvers,143 n, 146

Knüpftechnik,99 .

See also Phrase structure

Kropfinger, Klaus, 114

L

Leeuw, Reinbert, de, 220 n

Leichtentritt, Hugo, 4

Leitmotiv, 149 , 159

Lenau, Nikolaus, 51 , 109

Lessmann, Otto, 3

Levetzow, Karl von, 79

Lewin, David, 22 , 186

Library of Congress (Schoenberg Collection), 33 , 115 n, 120 , 201

Lindner, Adalbert, 3 , 4

Linkage technique, 99 .

See also Phrase structure

Liquidation, 23 , 31 , 35 , 118 , 119 , 189 , 195 , 207 , 226 , 253 , 266

Liszt, Franz, 52 , 109 , 187 , 191

Löns, Hermann, 248

M

Mackay John Henry, 216

Maeterlinck, Maurice, 158

Mahler, Gustav, 7 , 212 -13, 267

Manuscripts, xvi ;

of Chamber Symphony No. 1, op.9,


326

220 , 231 -32;

of Chamber Symphony No. 2, op. 38, 249 -50, 252 ;

of Dehmel songs of 1899, 80 , 82 , 84 ;

of ealry instrumental works, 20 , 28 ;

of early songs, 48 , 54 , 56 , 68 , 72 ;

of Guttrlirfrt,140 -41, 145 , 155 , 158 ;

of "Konstruktives in der Verklärten Nacht," 123 -26;

of String Quartet fragment in D Minor (1903-4), 184 ;

of String Quartet in D Major, 33 , 39 , 44 ;

of String Quartet No. 1, op. 7, 201 , 210 n;

of Verklärte Nacht,109 , 110 , 120 , 129 -30, 136 -38.

See also Revisions; Sketches

Marschalk, Max, 115

Mary Magdalene, 100

Meter:

development of, 39 -40, 72 , 86 , 97 -98, 106 , 138 , 193 ;

displacement of, 17 , 21 , 23 , 26 , 167 -68, 169 ;

stresses within, 89 , 90 .

See also Brahms, Johannes; Hemiola

Metronome markings, 220 n, 246

Meyer, C.F., 248

Model-and-sequence constructions, 83 .

See also Sequence

Modernism, 66

Motivic development:

in Brahms, 11 -14, 41 -42;

in Reger, 213 -14;

in Zemlinsky, 11 -14;

in Am Wegrand,218 ;

in Chamber Sympohony No. 2, op. 38, 251 , 252 -53;

in ealry songs, 52 , 55 , 62 , 70 -71, 83 , 86 -87, 100 -102, 105 , 107 ;

in Gurrelieder,154 -56;

in Piano Pieces of 1894, 23 , 26 , 28 ;

in Scherzo in F Major, 39 -42;

in Serenade for Small Orchestra, 29 , 31 ;

in String Quartet in D Major, 34 -35, 43 , 44 -45;

in String Quartet No. 1, op.7, 189 -92, 193 -95, 200 , 203 -7, 208 ;

in String Quartet No. 2, op. 10, 251 , 261 -62;

in Verklärte Nacht,116 -22;

in Verlassen,181 -82.

See also Developing variation; Meter; Thematic tranformation

Motivic process. See Developing variation; Motivic development

Musikalisches Wochenblatt,3

N

Nachod Collection (North Texas State University), 20 n, 56

Naturalism, 66 , 181

Neapolitan relationships, 38 , 41 , 43 , 70 , 149 , 150 -51, 218 , 236 , 260

Neff, Severine, 189 n

Neighbour, Oliver, 33 n, 254 n

Newlin, Dika, 123 n, 126 , 142 , 187 n

Niemann, Walter, 4 , 16

Nietzsche, Friedrich, 66

O

"O du lieber Augustin," 259 , 266

Oppenheimer, Paula, 81

Österreichische Nationalbibliothek, 82 n

Ostinato, 181 -82

P

Pentatonic scale, 38 , 61

Period structure, 24 , 34 , 39 -40, 43 , 194 , 253 , 260 .

See also Phrase structure

Pfannkuch, Wilhelm, 113 -14, 116

Pfau, Ludwig, 50 , 61

Phrase structure, xv , 27 , 47 , 88 , 108 , 156 , 164 , 165 , 167 , 168 ,176 , 193 -94, 211 , 214 , 254 , 260 .

See also Asymmetry; Period structure; Sentence structure

Phrygian mode, 17

Pierpont Morgan Library, 56 , 231

Pitch-class sets, 216 n.

See also Atonality

Plagal cadence, 9 , 136 , 152 , 245 -46

Pocket sketchbook. See Sketches

Polyhymnia Orchestra, 28 , 29 ,51

Pre-dominant chord, 9 , 17 , 69 , 70 , 85 , 129 .

See also Dominant preparation Half-diminished seventh chord

Program music, 158 , 171 , 177 , 186 -87, 216 , 266

Progressive form, 146 , 167 .

See also Recapitulation; Sonata form

Q

Quartal formations. See Fourths

Quotation, 15

R

Recapitulation, 187 ;

in Chamber Symphony No. 1, op. 9, 220 , 225 , 227 -29, 232 ,

see also Double recapitulation; in Chamber Symphony No. 2, op.38, 252 , 257 -58;

in Ecloge, 60 ;

in Erwartung,97 , 98 ;

in Gurrelieder,146 , 148 , 149 -51, 156 , 157 , 169 ;

in Mädchenfrühling,71 -72;

in Pelleas und Melisande,169 , 171 , 175 -77, 230 ;

in Scherzo in F Major, 41 ;

in Schilflied,53 ;

in Serenade for Small Orchestra, 29 ;

in String Quartet in D Major, 37 ;

in String Quartet No. 1, op.7, 189 , 191 , 192 , 207 , 208 , 211 , 230 ;

in String


327

Quartet No. 2, op. 10, 258 -59, 262 -63, 267 -68, 270 -71;

in Verklärte Nacht,98 , 114 , 116 , 121 , 122 , 129 , 130 , 136 , 138 , 139 , 175 , 230 ;

in Warnung, 89 , 92 .

See also Retransition; Sonata form

Reger, Max:

admiration for Brahms, 3 -5;

contact with Schoenberg, 212 ;

influece of Brahms upon, 4 n, 14 -19, 211 , 214 ;

settings of Dehmel, 67 ;

WORKS: Resignation, op. 26, no. 5, 14 -19, 23 ;

Rhapsodie (Den Manen Brahms), op. 24, no. 6, 15 n;

String Quartet, op. 74 , 211 -16;

Violin Sonata No. 2, op. 3, 3

Reich, Willi, 221 n

Reprise. See Recapitulation; Sonata form

Réti, Rudolph, 243

Retransition, 115 ;

in Scherzo in F Major, 41 ;

in Schilflied,53 ;

in Serenade for Small Orchestra, 29 -31;

in Verklärte Nacht,139 .

See also Development; Recapitulation; Sonata form

Retrograde, 34 , 39 , 40 , 105

Return. See Recapitulation; Retransition; Sonata form

Revisions:

of Chamber Symphony No. 1, op. 9, 231 -32;

of Ecloge, 56 -60;

of Gurrelieder,140 -42, 144 , 145 , 155 , 156 ;

of Mannesbangen,84 ;

of Pelleas und Melisande,133 -34, 175 -76;

of String Quartet in D Major, 33 , 41 , 42 , 44 ;

of String Quartet No. 1, op. 7, 210 n;

of Verklärte Nacht,110 , 120 -21, 129 -34, 136 -39;

of Waldesnacht,65 n;

of Warnung, 82 , 90 -92.

See also Manuscripts; Sketches

Riegl, Alois, 6 n

Riemann, Hugo, 4

Rilke, Rainer Maria, 81

Romanticism, 51

Rondo form, 27 , 113 , 173 , 211

Rosé, Arnold, 212

Rosen, Charles, 19

Rosé Quartet, 110

S

Schenker, Heinrich, 99

Schlaf, Johannes, 82

Schmidt, Christian M., xiii , 48 , 186 , 187 , 189 n, 201 , 202 n, 204 n, 205 n, 251 , 263 , 264 , 267

Schmidt, Leopold, 4

Schoenberg, Mathilde, 82 , 268

Schoenberg Collection (Library of Congress), 33 , 115 n, 120 , 201

Schoenberg Institute. See Arnold Schoenberg Institute

Schubert, Franz, 187 , 191 , 261 , 265

Schumann, Robert, 50 , 187

Schwarzwald, Eugenie, 181

schwebende Tonalität,153 , 252

Sentence structure, 22 -23, 24 , 118 , 169 .

See also Phrase strucutre

Sequence, 41 , 55 , 83 , 90 , 100 , 102 , 116 , 138 , 147 , 167 , 173 , 194 , 195 , 197 -98, 214 , 224 , 265 .

See also Model-and-sequence constructions

Simrock, Fritz, 7 , 10

Sinopoli, Giuseppe, 220 n

Sketchbooks. See Revisions; Sketches

Sketches:

for Chamber Symphony No. 1, op. 9, 220 , 237 , 240 -43;

for Chamber Symphony No.2, op. 38, 248 , 258 ;

concept sketches, 202 , 207 , 208 , 211 ;

for Pelleas und Melisande,158 ;

pocket sketchbook, 184 n;

sketchbooks, 184 , 186 -87, 201 -2, 220 , 248 , 249 , 258 , 261 , 264 , 267 ;

for String Quartet fragment in D Minor (1903-4), 184 ;

for String Quartet No. 1, op. 7, 201 -10, 249 -51;

for String Quartet No. 2, op. 10, 249 -51, 258 , 261 , 263 -64, 265 , 267 -68;

for Verklärte Nacht, op. 4, 110 , 136 n, 138 n.

See also Manuscripts; Revisions

Society for Private Musical Performances, 212

Society of Creative Composers, 212

Sonata form: 29 , 33 , 53 -54, 113 -16, 118 , 121 , 171 , 173 , 212 , 213 , 223 -24, 251 , 257 , 259 , 260 , 261 , 262 , 263 , 268 -69, 270 ;

combination of sonata form and four-movement form, 113 , 159 -60, 169 -71, 175 , 187 -89, 207 , 220 -21, 249 ;

combination of sonata and ternary form, 252 , 257 -58.

See also Development; Exposition; Recapitualtion; Ternary form

Song cycle, 141 -42, 144 -45

Stein, Erwin, 263 , 269

Stephan, Rudolf, 11

Stepwise voice-leading, 52 , 102 , 103 , 163 -64, 165 , 168 , 173 , 240 , 241 , 243 , 254 , 255 , 256 , 257 , 259

Stilkunst, 6 n

Strauss, Richard, 3 , 66 , 67 n, 82 , 109 , 115 -16, 187 , 199 , 222

Strophic form, 55 , 61 , 63 , 71 , 100 , 105 , 146 , 147 -48, 193

See also Sonata form

Stuckenschmidt, H.H., 82

Style, xiv , 5 , 66 ;

vs. idea, 5 -6

Subconscious, 126 , 272


328

Subdominant. See Half-diminished chord; Pre-dominant chord

Subjectivity, 66 , 68 , 246

Suk, Josef, 29

Swift, Richard, 113 , 114 , 116 , 122 , 129 , 222

Symmetry, 46 -47, 84 , 110 -11, 123 , 126 , 127 , 176 , 186 , 198 , 207 , 233 , 255 ;

symmetrical division of octave, 42 , 135 , 265 .

See also Augmented chord; Fourths; Whole-tone formations

Symphonic poem, 109

T

Tappert, Wilhelm, 3

Ternary form, 11 , 17 , 23 , 34 , 71 , 84 , 88 , 98 , 100 , 119 , 121 , 153 , 156 , 172 , 175 , 189 , 193 , 238 , 251 , 257 -58, 261 -62

Thematic development. See Motivic development; Thematic transformation

Thematic dualism, 261 , 262

Thematic process. See Motivic development; Thematic transformation

Thematic structure. See Motivic development; Period structure; Phrase structure; Sentence structure

Thematic transformation, 83 , 88 -89, 100 , 102 , 116 , 154 -55, 160 -63, 173 , 176 , 189 , 190 -92, 205 , 207 -8, 210 , 266 .

See also Motivic development

Thieme, Ulrich, 48 , 50 , 84 -85, 86

Tone color, 42

Transformational beat, 22 , 23 , 26

Trezise, Simon, 141 , 142 , 146

"Tristant" chord. See Half-diminshed seventh chord; Vagrant chord

Tyson, Alan, 202

U

Überbrettl cabaret, 158

Universal Edition, 181

V

Vagrant chord, 52 -53, 69 , 84 , 86 , 91 , 98 , 102 , 103 , 104 , 106 , 108 , 128 , 129 , 164 , 165 , 182 , 184 , 196 , 197 , 198 , 199 ;

defined, 24 , 85.

See also Augmented chord; Diminished-seventh chord; French sixth chord; German sixth chord; Half-diminished seventh chord; Whole-tone formations

Variant, 87 n.

See also Motivic development; Thematic transformation

Variation form, 43 -47, 259

Velten, Klaus, 252 -53

Vereinigung schaffender Tonkünsteler, 212

Verlag Dreililien, 82 n, 110 , 115 n

Vienna Conservatory, 7

Vienna Society of Composers, 7 , 33 , 110 , 141

Voice-leading. See Stepwise voice-leading

Volkmann, Robert, 29

Vrchlický, Jaroslav (pseud. for Emil Frida), 54

W

Wagner, Richard, 3 , 4 , 52 , 82 , 163 ;

Wagnerian techniques, xiv -xv, 48 , 98 -99, 109 ;

WORKS: Tristan und Isolde,83 , 153 , 173 ;

Die Walküre,163

Walter, Bruno, 130 -31, 133 , 134 , 139 , 175 , 176 , 212

Webern, Anton, 6 n, 67 , 112 , 182

Wellesz, Egon, xiii , 6 n, 32 -33, 110 , 113 , 114 , 184 , 185

Whole-tone formations, 65 , 91 , 103 -4, 108 , 177 , 197 -201, 214 , 218 , 219 , 232 -34, 237 , 244 .

See also Augmented chord; French sixth chord

Wiener Tonkünstlerverein, 7 , 33 , 110 , 141

Wilde, Oscar, 100

Wintle, Christopher, 196

Wolf, Hugo, 52 , 82

Z

Zemlinsky, Alexander von, 19 ,66 , 94 n, 110 , 133 , 141 , 142 , 175 -76;

admiration for Brahms, 7 ;

early training, 6 -7;

involvement with Schoenberg's D-Major Quartet, 32 -33, 41 , 42 , 43 ;

as teacher of Schoenberg, 7 , 8 ;

WORKS: Clarinet Trio, op. 3, 7 , 41 , 60 ;

Entbietung, op.7, no. 2, 82 n;

Heilige Nacht, op. 2, no. 1, 7 -10, 60 ;

Lieder, opp. 7, 8, and 10, 82 n, 141 n;

String Quartet No. 1, op.4, 10 -14, 41 .

See also Brahms, Johannes

Zemlinsky, Mathilde, 82 , 268


previous section
no next