This research provides a guide to understanding, preparing, and performing Arnold Schoenberg’s last completed opus, “De Profundis” (Psalm 130) Op. 50B, within the context of the Hebrew chant that inspired it and Schoenberg’s other religious works, sketches, archival correspondence, and interviews with conductors. Theoretical and contextual analysis reveals significant discoveries relevant to an informed and accurate performance of the work. “De Profundis” embodies Schoenberg’s mature and most flexible twelve-tone writing at the peak of his spiritual development. Op. 50B is a serial a Cappella composition scored for six-part mixed chorus with great rhythmic and melodic independence in the vocal lines, including soprano and baritone solos and choral Sprechstimme. A composer’s final opus is generally regarded as his highest achievement, yet Op. 50, and in particular “De Profundis,” has received relatively little attention from music theorists or performers. While this research includes the traditional study of the composer and the score, there is also focus on distance learning through digital media and a symbolic interpretation of “De Profundis” that provides unique opportunities to engage the performer and audience. Through these efforts, others may be encouraged to hear and perform this beautiful work and to explore this unique method of rehearsing.
|Commitee:||Bergman, Rachel, Billingham, Lisa, Hearden, Kathryn|
|School:||George Mason University|
|School Location:||United States -- Virginia|
|Source:||DAI-A 77/01(E), Dissertation Abstracts International|
|Subjects:||Music, Music education, Educational technology|
|Keywords:||A cappella, Achoenberg, Arnold, De Profundis (Psalm 130), Music technology, Mysticism, Twelve-tone scale|
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