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R eading B erg

R eading B erg Music Analysis, 2l/iii (2002) 0Blackwell Publishing Ltd. 2002. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 ZDQ, UK ARVED ASHBY compositions and not the authors are responsible for determining the interpretative ideologies on view. By comparison, the Headlam and Hall studies are monographs with contrasting approaches, the former taking a synoptic view of the entire Berg oeuvre, and the latter approaching a single work from perspectives that are carefully circumscribed by implications apparent in the composer’s sketches. Overall, Headlam transparently seeks the normative in a non-normative composer, valiantly pursuing the Holy Grail of a Bergian meta-language in an interpretative quest based on the premise of interval cycles. The study deserves our interest and respect purely by virtue of the fact that it is the first to try to cover the development of Berg’s compositional language in a comprehensive way. Its obvious English-language precursors, the two magisterial Perle texts devoted to Wozzeck and Lulu, tell us as much about the nature of their author’s theoretical predispositions as they do their subject; moreover, they focus on the two operas to the extent that some of the surrounding works are barely mentioned (Perle 1980; 1985). Douglas Jarman’s The Music of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

R eading B erg

Music Analysis , Volume 21 (3) – Oct 1, 2002

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Publisher
Wiley
Copyright
Blackwell Publishers Ltd 2002
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00171
Publisher site
See Article on Publisher Site

Abstract

Music Analysis, 2l/iii (2002) 0Blackwell Publishing Ltd. 2002. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 ZDQ, UK ARVED ASHBY compositions and not the authors are responsible for determining the interpretative ideologies on view. By comparison, the Headlam and Hall studies are monographs with contrasting approaches, the former taking a synoptic view of the entire Berg oeuvre, and the latter approaching a single work from perspectives that are carefully circumscribed by implications apparent in the composer’s sketches. Overall, Headlam transparently seeks the normative in a non-normative composer, valiantly pursuing the Holy Grail of a Bergian meta-language in an interpretative quest based on the premise of interval cycles. The study deserves our interest and respect purely by virtue of the fact that it is the first to try to cover the development of Berg’s compositional language in a comprehensive way. Its obvious English-language precursors, the two magisterial Perle texts devoted to Wozzeck and Lulu, tell us as much about the nature of their author’s theoretical predispositions as they do their subject; moreover, they focus on the two operas to the extent that some of the surrounding works are barely mentioned (Perle 1980; 1985). Douglas Jarman’s The Music of

Journal

Music AnalysisWiley

Published: Oct 1, 2002

References