This paper discusses new tendencies in music of 20th century. Two pieces of music by Arnold Schoenberg and Claude Debussy are considered further on as bright examples of “different” music, where feelings and emotions of the composers rather than thematic development, play a decisive role for further succession…
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The third period was marked by his invention of “twelve-tone” method of composition. It is often claimed that musical pieces of this composer reflect the characteristics of Brahms and Wagner. On the one hand, the directions of musical developments of these two opposing composers cannot be compared, but on the other hand, Schoenberg succeeded in uniting them into one perfect conglomerate. A selected piece of music composed by Schoenberg is Op. 08, where he accelerates and escapes from traditional Wagnerian tones. A principle of linear time is reflected in a direct motion in music. The principles of tonality were very important for the musical pieces of 20th century and compositions of Schoenberg follow those tendencies as well. Historical context of this composition plays a very important role for further discussion. This piece of music is thought to be finished in 1909 and he completed it in 2 weeks. That period was a crisis for the composer and these feelings and emotions are evidently reflected in his music. The record Erwartung 6 lieder Op. 08 is believed to be a new stage for musical development of the composer, when he exceeded the limits of Romanticism and German culture (Evans, 2001). This piece of music is distinguished by depth of expression, easy comprehension and distinction, though it was often argued by critics. The name of its piece of music is Erwartung or Expectation. It is a story about a woman, who is waiting for her lover, but then finds his body dead. The beginning and the end of the composition are calm ones, but in the middle of this piece of music are essential ascents. Therefore, these characteristics can be considered as belonging to non-conventional music. The composer’s personality was unconventional at that time as well, because Hitler did not like him because of his Jewish nationality. His musical pieces were full of subjectivity and unconscious. The implementation of atonal dissonance did not reflect the main characteristics of Romanticism. It was beyond harmony and it was something new and unique (McKay, 1987). Schoenberg was looking for the ways of new developments and he wanted a new field for his self-expression. A language of dodecaphony was invented by this composer. This language of music can be described in the following way: sounds, like words can be either expressed or not. They can become cultural symbols for expressions and reflections of a given individuality of a composer. This is the specific context of dodecaphonic musical expression. Lauro Machado Coelho claimed that Schoenberg managed to open new ways for musical aesthetics’ reflection. The composer did not intend to position his music as a revolutionary one. Schoenberg made an emphasis on creativity and imagination, that is why during 19071908 he refused from the concept of tonality and rushed into expressionism. This piece of music, “Erwartung” is a bright example of this tendency. Nevertheless, there is a huge psychological impact exerted on it, because it was written during a period, when Mathilde, a wife of Schoenberg, left him and had an affair with Richard Gerstl, who killed himself after Mathilde’
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(Music of Schoenberg and Debussy Research Paper Example | Topics and Well Written Essays - 1500 Words)
“Music of Schoenberg and Debussy Research Paper Example | Topics and Well Written Essays - 1500 Words”, n.d. https://studentshare.org/music/1452612-music-of-schoenberg-and-debussy.
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