The musical language of Viktor Ullmann / by Rachel Elizabeth Bergman
Includes bibliographical references (leaves 178-183)
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Electronic version from ProQuest
Viktor Ullmann (1898–1944), a Jewish, Austro-Hungarian composer who was killed in the Holocaust, has only recently begun to receive the much-deserved attention of scholars and performers alike. His musical language, which coherently integrates tonal and atonal procedures, reflects the continuing influence of Schoenberg and his circle. This dissertation brings to light Ullmann's unique musical style, while placing him within the broader historical context of early twentieth-century Europe, and specifically the Second Viennese School.The first chapter explores the primary influences in Ullmann's life. These include not only his close ties to the Schoenberg circle, but also his involvement with anthroposophy, based on the teachings of Rudolf Steiner, and the impact of the Second World War, culminating in Ullmann's internment in the concentration camp Theresienstadt. Chapter two outlines the analytical techniques that will be used in approaching Ullmann's music, and is divided into three sections. The first addresses issues of centricity and large-scale design; while the second introduces the idea of interval cycles, based on Dave Headlam's approach to Berg's music, highlighting the types of structural sets Ullmann uses. Finally, the chapter concludes with an investigation of Ullmann's twelve-tone technique within the context of the Second Viennese School. Chapters three and four present Ullmann's piano music and chamber music, respectively, and are each divided into two sections—a more general introduction to the genre, followed by in-depth analyses of selected works.
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