By: Scott Murphy, University of Kansas
Abstract of Video:
Leonard Bernstein’s Third Symphony, subtitled “Kaddish,” broadly moves from atonality to tonality, matching how the symphony’s program broadly moves from anger toward, to reconciliation with, God. The symphony’s first twelve-tone row, presented near its beginning, prompts multiple analytical perspectives that align with this atonality-to-tonality trajectory, including perspectives that draw on this row’s relationship with the twelve-tone row of Alban Berg’s Violin Concerto.
About the Author:
Scott Murphy is a professor of music theory at the University of Kansas.
Bibliography:
Bernstein, Leonard, Douglas Smith, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Hector
Berlioz, Richard Wagner, Claude Debussy, et al. 1973. The Unanswered Question: Six Talks at
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Rosen, Peter, Peter Thomas, Chuck Clifton, Darius Milhaud, Orchestre national de France, United States
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1978. Leonard Bernstein Reflections. [Berlin]: Medici Arts.
Schiller, David Michael. 2003. Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music. Oxford: Oxford
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