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Current scholarship credits Schoenberg exclusively for revealing the extent of Brahms's thematic work. Certainly, both Schoenberg's Brahms lecture of 1933 and its revision as the seminal essay ‘Brahms the Progressive’ (1947) not only rescued Brahms from the conservative dead end into which the...
My title is a pun on Stravinsky's characterisation of Pierrot Lunaire as the solar plexus of twentieth‐century music. Given its place in the history of musical depictions of moonlight, I characterise Pierrot as the twentieth century's lunar nexus – a place of intersections among literary and...
Giacinto Scelsi (1905–1988) is a problematic figure for musical analysis on account of his extreme anti‐rationalism and devaluing of the score. By the 1950s he was creating music through improvisation and delegating to assistants the task of transcribing the results. The idiom he evolved was...
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