“MOTIVICIZATION” IN PRACTICE
That characteristic resort to browbeating was surely the least attractive product of modernist mythography. There were much more attractive ones. Webern gave a fascinating practical demonstration of how historiographical ideas can be translated into composerly procedures, when in 1934–1935 he transcribed for orchestra the six-part ricercar from Bach’s Musical Offering. The most characteristic feature of the orchestration, and at the same time one of its more enigmatic traits, is the way Webern cut up (or, as music analysts would say, “segmented”) the famous “royal” theme given Bach by Frederick the Great as a subject for improvisation. On its every appearance, the 8-measure theme is divided into seven timbrally differentiated parts, numbered for reference in Ex. 6-30.
- 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. 14 Oct. 2019. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006023.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 14 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006023.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 14 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-006023.xml
