Please use this identifier to cite or link to this item: https://hdl.handle.net/1959.11/5652
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dc.contributor.authorShaw, Jenniferen
dc.date.accessioned2010-04-20T09:57:00Z-
dc.date.issued2006-
dc.identifier.citationContext: Journal of Music Research, v.31, p. 109-121en
dc.identifier.issn1038-4006en
dc.identifier.urihttps://hdl.handle.net/1959.11/5652-
dc.description.abstractA composer's musical sketches can be fascinating objects, recording choices made and paths abandoned. Over the past century we have accumulated a substantial scholarly literature on sketch studies, much of it concerning the provenance, cataloguing, restoration, archiving and reproduction of sketches of great composers in the classical art-music tradition. Yet can we treat sketches as more than historical documents? In my recent work on the music of Arnold Schoenberg I have argued that it is possible for a composer's sketches not only to record the stages in the compositional process but also to influence modern interpretations and performances of works. As part of this ongoing project I have adopted an intertextual model that integrates aspects of cultural studies, sketch studies and music analysis. In this article, as an example of how this model can be employed, I will concentrate on one example taken from a sketchbook that Schoenberg used in 1917 to record the main ideas for his oratorio 'Die Jakobsleiter' ('Jacob's Ladder'). I argue that we can make sense of the sketch book's 'ungrammaticalities,' a term I have adopted from the work of literary theorist Michael Riffaterre, if we have an understanding of Schoenberg's sense of his own place not just in the 'great composer' narrative of Austro-German music history that dominated Western Europe through much of the late nineteenth century and the twentieth, but also of his place and role in the immediate context of the First World War.en
dc.languageenen
dc.publisherUniversity of Melbourne, Faculty of Musicen
dc.relation.ispartofContext: Journal of Music Researchen
dc.titleArnold Schoenberg and the Intertextuality of Composing and Performanceen
dc.typeJournal Articleen
dc.subject.keywordsMusicology and Ethnomusicologyen
local.contributor.firstnameJenniferen
local.subject.for2008190409 Musicology and Ethnomusicologyen
local.subject.seo2008950101 Musicen
local.profile.schoolSchool of Humanities, Arts and Social Sciencesen
local.profile.emailjshaw9@une.edu.auen
local.output.categoryC1en
local.record.placeauen
local.record.institutionUniversity of New Englanden
local.identifier.epublicationsrecordune-20100327-123421en
local.publisher.placeAustraliaen
local.format.startpage109en
local.format.endpage121en
local.peerreviewedYesen
local.identifier.volume31en
local.contributor.lastnameShawen
dc.identifier.staffune-id:jshaw9en
local.profile.roleauthoren
local.identifier.unepublicationidune:5786en
dc.identifier.academiclevelAcademicen
local.title.maintitleArnold Schoenberg and the Intertextuality of Composing and Performanceen
local.output.categorydescriptionC1 Refereed Article in a Scholarly Journalen
local.relation.urlhttp://www.music.unimelb.edu.au/research/contexten
local.search.authorShaw, Jenniferen
local.uneassociationUnknownen
local.year.published2006en
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