Really nice appointments of both interviewers. You are doing a great job with this channel. Could you say the reference of wich edition and the page that you read in Schoenberg's harmony book? Thank you for your work.
I tried to look for the book but it's lost in my library. It's definitely the Schoenberg's Theory of Harmony and it was right at the beginning of the book.
Great discussion of figured bass. I paraphrase:Thorughbass: Bass goes on throughout entire piece. AKA Bass general. Basso continuo. Not a vocal part which comes in and out. In olden times, if the piece didn't have a bass part, as in the case of motets, they WOULD INVENT ONE. Full scores were rare.
I first studied Schoenberg's writings in the 1970s. There were some brilliant insights. However, it also became apparent that he didn't have a deep understanding of thoroughbass and, also, he (and this is true of far too many contemporary musicians) also did not understand the foundations of tuning theory. Liebowitz in Schoenberg and his school and Leonard Bernstein in his lecture on music history (which is on youtube) ride roughshod over the actual pitch relations that were being used in a given period. I am amazed at how the comments on the Bernstein lecture all talk about how brilliant Bernstein's presentation is. I find it completely misleading and fosters the arrogance of ignorance that predominates our time. Partimento seems like one aspect of what might take us out of the dark ages of musical education. Learning the acoustical foundations of tuning from a pure, non-culturally biased, approach is also necessary. There are things in constructing scales from scratch that has analogies to the hexachords of the solfeggio Prof. Baragwanath is discussing on your podcasts.
Shoenberg discuss this: Theory of Harmony, Part 2 THE METHOD OF TEACHING HARMONY, pages 14-15 The realization of a thorough bass may have had value formerly, when it was still the keyboard player's task to accompanyf rom figured bassesT. o teach it today, when no musician needs it any more, seryes no purpose and is a waste of time, hinders more important work, and fails above all to make the pupil selfreliant. The principal aim of harmony instruction is to connect chords with an ear to their individualities,t o arranget hem in suchp rogressionsa sw ill produce an effect suitable for the task at hand; and to achieve this aim, not much skill in voice leading is required. The little that is necessaryt o deal with forbidden parallels, dissonances,a nd the like can be mastered rather easily. Besides, courses in counterpoint and form deal in a much more appropriate way with the constructiono f parts,w hich is really inconceivablew ithout motivic activity, whereas for chord connection not much more is required than to avoid unmelodic voice leading. On the other hand, the 'melodizing' so commonly encounteredl ruins the pupil's taste and evokes in him false notions concerning composition
Wow! Finally! We can comment under the videos of this channel!!!!!!! Yeeeeeees!!!!!
Really nice appointments of both interviewers. You are doing a great job with this channel. Could you say the reference of wich edition and the page that you read in Schoenberg's harmony book? Thank you for your work.
I tried to look for the book but it's lost in my library. It's definitely the Schoenberg's Theory of Harmony and it was right at the beginning of the book.
@@NikhilHoganShowPart 2 THE METHOD OF TEACHING HARMONY, pages 14-15
Okay oops, part 2.
@@NikhilHoganShow Thanks!
Thanks!
Great discussion of figured bass. I paraphrase:Thorughbass: Bass goes on throughout entire piece. AKA Bass general. Basso continuo. Not a vocal part which comes in and out. In olden times, if the piece didn't have a bass part, as in the case of motets, they WOULD INVENT ONE. Full scores were rare.
I first studied Schoenberg's writings in the 1970s. There were some brilliant insights. However, it also became apparent that he didn't have a deep understanding of thoroughbass and, also, he (and this is true of far too many contemporary musicians) also did not understand the foundations of tuning theory. Liebowitz in Schoenberg and his school and Leonard Bernstein in his lecture on music history (which is on youtube) ride roughshod over the actual pitch relations that were being used in a given period. I am amazed at how the comments on the Bernstein lecture all talk about how brilliant Bernstein's presentation is. I find it completely misleading and fosters the arrogance of ignorance that predominates our time. Partimento seems like one aspect of what might take us out of the dark ages of musical education. Learning the acoustical foundations of tuning from a pure, non-culturally biased, approach is also necessary. There are things in constructing scales from scratch that has analogies to the hexachords of the solfeggio Prof. Baragwanath is discussing on your podcasts.
His music also sounds like shit, a reflection of his garbage ideas.
I think maybe Schoenberg was just worried about a Basso continuo that wasn't bene, since if it wasn't thoroughly good it was bad to the bone.
Shoenberg discuss this:
Theory of Harmony, Part 2 THE METHOD OF TEACHING HARMONY, pages 14-15
The realization of a thorough bass may have had value formerly, when it was
still the keyboard player's task to accompanyf rom figured bassesT. o teach it
today, when no musician needs it any more, seryes no purpose and is a waste of
time, hinders more important work, and fails above all to make the pupil selfreliant.
The principal aim of harmony instruction is to connect chords with an
ear to their individualities,t o arranget hem in suchp rogressionsa sw ill produce
an effect suitable for the task at hand; and to achieve this aim, not much skill in
voice leading is required. The little that is necessaryt o deal with forbidden
parallels, dissonances,a nd the like can be mastered rather easily. Besides,
courses in counterpoint and form deal in a much more appropriate way with
the constructiono f parts,w hich is really inconceivablew ithout motivic activity,
whereas for chord connection not much more is required than to avoid unmelodic
voice leading. On the other hand, the 'melodizing' so commonly encounteredl
ruins the pupil's taste and evokes in him false notions concerning
composition
thanks!