Interval Symmetries as Divine Perfection in Schoenberg’s Moses und Aron

Authors

  • Jack Boss

DOI:

https://doi.org/10.5399/uo/konturen.5.0.3251

Abstract

Beginning with an analysis of certain tone-row partitions in Schoenberg's opera Moses and Aaron, this article examines the ways in which the composer dramatized the conflict between the two Biblical brothers by setting leitmotifs in opposition, conveying the tension (between the visual and verbal portrayal of God) in terms of an abstract, symmetrical system.

Author Biography

Jack Boss

Jack Boss is Associate Professor of Music Theory at the University of Oregon. His recent monograph, Schoenberg's Twelve-Tone Music: Symmetry and the Musical Idea, was published by Cambridge University Press in January 2014.  His articles, book chapters and reviews may be found in the Journal of Music Theory, Music Theory Spectrum, Perspectives of New Music, Music Theory Online, Intégral, Gamut, Notes, Musical Currents from the Left Coast, and Analyzing the Music of Living Composers (among others).

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Published

2013-06-26

How to Cite

Boss, J. (2013). Interval Symmetries as Divine Perfection in Schoenberg’s Moses und Aron. Konturen, 5, 31–58. https://doi.org/10.5399/uo/konturen.5.0.3251

Issue

Vol. 5 (2014): Abstraction and Materiality in the Arts, Literature, and Music

Section

Articles