IRONY CLAIMS ITS DUE

Chapter:

CHAPTER 12 In Search of Utopia

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

All the more obviously was this the case when Schoenberg, for all the scorn he poured on “little Modernsky” and his false “Papa Bach” peruke, found himself writing his own allotment of minuets and gavottes. Explaining that away has cost his “defenders” a lot of sweat. Usually the difference between Schoenberg’s pastiches and Stravinsky’s turns on the absence in Schoenberg’s of any actual diatonic melody or triadic harmony. Despite the recourse to eighteenth-century forms, the musical content was still novel, still resembled the melodic and harmonic idiom of the older “expressionist” music. “If Schoenberg does call into service older form types,” one such defender has argued, “it is not because he considers them to be ‘ideal,’ but because he sees in them usages which should not be dispensed with until the novel and more difficult aspects of his musical language are better understood.”²³

Citation (MLA):

Richard Taruskin. "Chapter 12 In Search of Utopia." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2025. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012005.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 12 In Search of Utopia. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012005.xml

Citation (Chicago):

Richard Taruskin. "Chapter 12 In Search of Utopia." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-012005.xml