![]() Matthias Hauer, Frederic Mompou, Igor Stravinsky and Béla Bartók are also examined. Significant affinities of Gerhard’s compositional methods with the music of other contemporary composers such as J. My study gives a detailed account of the compositional techniques implemented in these pieces and of the relationships with the music and ideas of Schoenberg. None of these works has been thoroughly analyzed up to now. 1927) and the first movement of the 1927 string quartet, written as final project of his studies in overt homage to Schoenberg’s String Quartet Nr. I compare the first Apunt for piano (1921) –composed shortly before moving to Vienna-with three pieces composed for Schoenberg that I consider particularly interesting: the Divertiment for wind instruments (1926), the Andantino for violin, clarinet and piano (ca. ![]() In the second part I study the transformation of Gerhard’s musical language in the period 1921 - 1927. ![]() Schoenberg’s teachings are contextualized with respect to Gerhard’s earlier musical education. In the first part I examine Gerhard’s relationship to Schoenberg’s compositional and pedagogical principles, particularly during the period of studies in Vienna and Berlin (1923- 28). This thesis studies the impact of Gerhard’s acquaintance with Arnold Schoenberg in his music and aesthetic thought of the 1920s. ![]()
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