This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker’s and Schoenberg’s inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker’s and Schoenberg’s work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenker’s and Schoenberg’s conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.
Part 1: Schenker’s and Schoenberg’s Thinking About Music 1. The Eye of the Genius 2. The Obstacle of Interruption 3. The Trouble with Problems Part 2: Schenker’s and Schoenberg’s Thinking In Music 4. Schenker the Progressive 5. The Cold Shoulder 6. Zeroing In and Zeroing Out 7. The Turning Point
The Ashgate Studies in Theory and Analysis of Music After 1900 series celebrates and interrogates the diversity of music composed since 1900, and embraces innovative and interdisciplinary approaches to this repertoire. A recent resurgence of interest in theoretical and analytical readings of music comes in the wake of, and as a response to, the great successes of musicological approaches informed by cultural studies at the turn of the century. This interest builds upon the considerable insights of cultural studies while also recognizing the importance of critical and speculative approaches to music theory and the knowledge-producing potentials of analytical close readings. Proposals for monographs and essay collections are welcomed on music in the classical tradition created after 1900 to the present through the lens of theory and analysis. The series particularly encourages interdisciplinary studies that combine theory and/or analysis with such topical areas as gender and sexuality, post-colonial and migration studies, voice and text, philosophy, technology, politics, and sound studies, to name a few.