| Description |
xviii, 417 pages : illustrations ; 23 cm. |
| Series |
Interplay : music in interdisciplinary dialogue ; no. 8
|
|
Interplay (Hillsdale, N.Y.) ; no. 8.
|
| Bibliography |
Includes bibliographical references (pages 399-410) and index. |
| Contents |
Musical functionalism: perspectives in early 20th-century art. The concept of functionalism -- On the material's own will -- Craft and creation -- The organic form as construction -- Form and norm -- "Sachlichkeit" and Neue Sachlichkeit" -- The concept of musical functionalism -- The musical material. The crisis of tonality -- Adorno and the material of music -- Schoenberg: the motive as musical material -- Hindemith: the interval as musical material -- Musical form. Aspects of musical form -- Schoenberg: from Gedanke to form -- Hindemith: from vision to form -- Musical function. Functional objectivity -- Functional music and musical functionalism -- Schoenberg: active listening and musical recognition -- Hindemith: active performance and musical recognition -- Coda: Schoenberg and Hindemith in the context of functionalism. |
| Summary |
In this book, the concept of functionalism, known from 20th century architecture and design, is applied in an investigation into the musical thoughts of two of the leading composers at the time of the Bauhaus: Arnold Schoenberg and Paul Hindemith, who were contemporaries of Adolf Loos and Le Corbusier.--[book cover] |
| Subject |
Schoenberg, Arnold, 1874-1951 -- Criticism and interpretation.
|
|
Schoenberg, Arnold, 1874-1951. |
|
Criticism and interpretation. |
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Hindemith, Paul, 1895-1963 -- Criticism and interpretation.
|
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Hindemith, Paul, 1895-1963. |
|
Music -- Philosophy and aesthetics.
|
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Music -- Philosophy and aesthetics. |
|
Music and architecture.
|
|
Music and architecture. |
| ISBN |
9781576471708 alkaline paper |
|
1576471705 alkaline paper |
|
