Affiliation:
1. Queen's University
2. University of British Columbia
Abstract
Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder
Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summarizes previous analyses that treat voice leading, transpositional invariance, and the behavior of the “French 6th” chords in the piece. It then shows how to unify those observations in the context of a particular transformational space
that provides additional insights into the form and process of the song. Animations illustrate how the song’s themes of distance and return are manifested by the progression of the music through this space.
Reference8 articles.
1. Breivik, Magnar. 1998. “The Representation of Sleep and Death in Berg’s Piano Songs, Op. 2.” In Encrypted Messages in Alban Berg’s Music, edited by Siglind Bruhn, 112–21. New York: Garland.
2. Gauldin, Robert. 1999. “Reference and Association in the Vier Lieder, Op. 2, of Alban Berg.” Music Theory Spectrum 21/1: 32–42.
3. Headlam, Dave. 1996. The Music of Alban Berg. New Haven: Yale University Press.
4. Jarman, Douglas. 2001. “Alban Berg.” The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie and John Tyrell, 312–27. London: Oxford University Press.
5. Kett, Stephen W. 1989. “A Conservative Revolution: The Music of the Four Songs Op. 2.” In The Berg Companion, edited by Douglas Jarman, 67–89. Boston: Northeastern University.
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