O U T L IN E : 9 /2 6 2 N D V IE N N E S E : T E X T A N D 1 2 - T O N E 1. D rop the needle practice. 2. Schoenberg,Pierrot lunaire, op.21(M oonstruck Pierrot,1912) a. Sprechstim m e (Speech/song) b. “PierrotEnsem ble” c. N o.8 “N acht” (N ight):Passacaglia 3. A lban B erg (1885–1935) a. M ore “rom antic” than Schoenberg b. O pera com poser:W ozzeck and Lulu c. C om posesatonalm usic butalludesto tonalm usic often d. IncludesLeitm otivs. e. W ozzeck, A ctIII,scene 3:V ariationson a rhythm . f. V iolin concerto — tw elve tone w ork,butquotesa B ach chorale. 4. T w elve-T one M ethod a. P,R ,I,and R I b. hexachordalcom binatoriality 5. Schoenberg,Fourth String Q uartet a. R eturn to m ore traditionalform s,w ith less-traditionalpitches b. P0,I5 hexachords c. alm ostP0,I7 tetrachords d. A udibility? 6. W ebern,Sym phonie op.21 a. canons b. pointillism c. sim ilarity ofgesture betw een canonic strands. N extclass:Neoclassicism Listening and R eading:See Syllabus(Prokofiev,Stravinsky) LoriH uberm an on Sym phony ofPsalm s(30 m inutes) Sum m ary ofN eoclassicism . FirstU nitT est(~35 m inutes)

Outline: 9/26 2nd Viennese: Text and 12-Tone

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