Arnold Schoenberg And The Pierrot Lunaire

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Arnold Schoenberg (b Vienna, 1874; d Los Angeles, 1951) is an Austrian-born composers, conductor and teacher. Schoenberg’s musical education began when he was eight with violin lessons, and he very soon started composing, imitating the violin duets by such composers as Pleyel and Viotti that he was given to learn. Schoenberg’s music may be divided four periods, the second and third of which were inaugurated by crises in compositional technique that had important consequents not only for the composer’s own work but for music in general. The music of the first period is tonal, employs a tonality as a central point of reference. The music of the second period is often called “atonal”. This period will be referred to as “expressionist”. In the third period, Schoenberg gradually evolved the principle of serialism; music written between 1920-1936 was considered as serialism music. The fourth was marked by greater stylistic diversity, including occasional returns to tonal composition. The Pierrot Lunaire was written in 1912 in the second period, it reflects the unprecedented social and national conflicts in the modern ages with its extremely dissonant harmonies, disjointed melodies including wild leaps and violent, explosive contrasts with instruments often played harshly at the extremes of their ranges. This essay is going to discuss the genre and features of the Pierrot Lunaire. Schoenberg uses melodrama as a genre in Pierrot Lunaire. Melodrama is kind of musical-dramatic

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