MHL 603 – PREPARATION 2
(F-11)
Due Mon. 19
Sept via Email
Please listen
to:
Schoenberg, Wind Quintet (1st
and 4th mvts);
Anton Webern, Cantata #1, Op. 29 (1st movement)
Milton Babbitt, Three Compositions for
Piano (1st mvt)
Scores are posted and also in the binder on reserve. The recordings are on CD-2.
Please read:
Arnold Schoenberg, “Composition with
twelve tones,” in in Classic Essays on 20th-century Music (ed. R. Kostelanetz
& J. Darby, 1996), 233-264. (1st published, 1950). You can skim the analysis of the pieces that
aren't assigned.
Pierre Boulez, “Schoenberg is
Dead,” in Music in the Western World (ed. P. Weiss & R. Taruskin, 1984), 507-509 (1st published 1952).
1. In class we used "magic squares" to
keep track of the rows in the Schoenberg Quintet and the Webern Cantata. Just for practice, I'd like you to construct
a magic square for Babbitt's Three Compositions. Take the first 12 pitches in the piano left
hand as P0. Fill in the first
2 or 3 horizontal and vertical rows yourself, then finish up by going to http://composertools.com/Tools/matrix/MatrixCalc.html
and letting the computer do the rest. Print
out your matrix and bring it to class. (You don't need to Email it.)
2. Write a paragraph or two on one of the following topics.
A. On p. 239 of his essay and again at the very
end Schoenberg remarks that he introduced the idea of a 12-tone row for the purpose of "unity." On p.242, however, he worries that
"exclusive use of one set" may result in "monotony." Discuss unity and monotony in first and last
movements of the Wind Quintet. Besides
the "basic series," what factors promote unity within each movement?
between movements? What factors seem to
create monotony? Please refer to specific passages by bar number.
B. Pierre Boulez, in his 1952 diatribe against
Schoenberg, criticizes Schoenberg for confusing "theme" with
"series" (row). Explain what
Boulez means by this and discuss whether you find this "confusion" in
the Wind Quintet, Op. 26 1st and last movements. Please discuss 2 or more passages from each
movement as examples of confusion or non-confusion (clarity?).
Later in his essay Boulez praises
Webern for not being "confused" about "theme" vs.
"series." Judging from
Webern's first cantata (mvt 1), is Boulez correct in
this? Explain with examples.
Send your preparation
to john.spitzer@notes.sfcm.edu by Monday
19 Sept. at
Because of last
week’s quiz, we have a lot of listening to catch up on. As well as Schoenberg and Webern, please
listen to as many of the following as you can manage:
Babbitt, 3 Compositions (#1);
Stockhausen, Kreuzspiel
Stravinsky, In memoriam Dylan Thomas