The Music of Arnold Schoenberg: Catastrophe and Creation
Michael Cherlin explores two aspects of creation in relation to catastrophe: creation as a response to catastrophe, so that newly emerging forms of creativity are part of a coping or healing process; and creation itself as entailing catastrophe, a shattering of former meaning so that new meaning mig...
| Main Author: | |
|---|---|
| Format: | Print Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2022
|
| In: |
The betrayal of the humanities
Year: 2022, Pages: 402-422 |
| Standardized Subjects / Keyword chains: | B
Schönberg, Arnold 1874-1951
/ Schönberg, Arnold 1874-1951, Moses und Aron
/ Twelve-tone technique
/ Tonality
/ Dissonanz
/ Atonality
/ Bloom, Harold 1930-2019
/ Cabala
/ Preussische Akademie der Künste
/ Musik
/ Theology
/ Antisemitism
/ History
|
| IxTheo Classification: | AG Religious life; material religion BH Judaism KAJ Church history 1914-; recent history KBB German language area ZC Politics in general |
| Further subjects: | B
Schönberg, Arnold
B Tonality B Bloom, Harold B Kabbalah B Dissonanz B Atonality B Prussian Academy of Arts B Antisemitism B Moses und Aron B History of music B Preußische Akademie der Künste B Musik und Theologie B Twelve-tone technique |
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| 520 | |a Michael Cherlin explores two aspects of creation in relation to catastrophe: creation as a response to catastrophe, so that newly emerging forms of creativity are part of a coping or healing process; and creation itself as entailing catastrophe, a shattering of former meaning so that new meaning might emerge. Using a dialectical paradigm derived from Harold Bloom’s book Kabbalah and Criticism (1975), Cherlin posits three transformative “moments” of catastrophe and creation in Arnold Schoenberg’s life and works. The first moment is coincident with the upheaval in the arts in the years just prior to World War I. The second moment occurs during the interwar years, the tumultuous period that saw the virulent rise of anti-Semitism and a second sea change in Schoenberg’s musical language. The first two moments of creative and personal catastrophe become the precursors to the final moment, Schoenberg’s forced resignation from the Prussian Academy of Arts, his emigration to the United States, and the final stage of the composer’s life. | ||
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