Re-released with Schoenberg's "Fundamentals of Musical Composition" and "Theory of Harmony".
First published in 1948, Structural Functions of Harmony is Schoenberg's last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The many music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.
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Summary
Re-released with Schoenberg's "Fundamentals of Musical Composition" and "Theory of Harmony".
First published in 1948, Structural Functions of Harmony is Schoenberg's last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The many music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.
Description
First published in 1948, Structural Functions of Harmony is Schoenberg's last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The opening chapters are a resume of the basic principles of the early Theory of Harmony; the subsequent chapters demonstrate the concept of 'monotonality', whereby all modulations to different keys within a movement are analysed not in relation to each other but in terms of the irrelationship to one central tonality (tonic) as the centre of all harmonic change. Schoenberg's music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.
About the Author
Arnold Schoenberg (1874-1951) was an Austrian composer, later moving to the United States, and was leader of the Second Viennese School. In the 1920s, Schoenberg developed the twelve-tone technique, and his approach, both in terms of harmony and development, is among the major landmarks of twentieth-century musical thought. The extraordinary scope of Schoenberg's intelligence, and the often prophetic character of his insights, make his writings on music an indispensable source for anyone interested in the complex history of twentieth-century music.
First published in 1948, Structural Functions of Harmony is Schoenberg's last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The opening chapters are a resume of the basic principles of the early Theory of Harmony ; the subsequent chapters demonstrate the concept of 'monotonality', whereby all modulations to different keys within a movement are analysed not in relation to each other but in terms of the irrelationship to one central tonality (tonic) as the centre of all harmonic change. Schoenberg's music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.
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