A LITTLE “SET THEORY”

Chapter:

CHAPTER 6 Inner Occurrences (Transcendentalism, III)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

For a final demonstration we can turn to the first of Schoenberg's Sechs kleine Klavierstücke, op. 19 (“Six little pieces for piano,” 1911), a set of tiny, aphoristic piano pieces in an idiom that finally seems purged of all “tonal reference” (Ex. 6-13). No single pitch emerges from the texture with sufficient frequency to suggest itself as a candidate tonic; fifth relations are not salient; major or minor triads are not in evidence, nor are dominant-seventh chords. It would appear that the whole conventional vocabulary of music has been suppressed in favor of a private language.

Citation (MLA):

Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006010.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 6 Inner Occurrences (Transcendentalism, III). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006010.xml

Citation (Chicago):

Richard Taruskin. "Chapter 6 Inner Occurrences (Transcendentalism, III)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006010.xml