Interval Symmetries as Divine Perfection in Schoenberg's Moses und Aron

dc.contributor.authorBoss, Jack
dc.date.accessioned2019-02-15T22:42:37Z
dc.date.available2019-02-15T22:42:37Z
dc.date.issued2014
dc.description28 pagesen_US
dc.description.abstractBeginning with an analysis of certain tone-row partitions in Schoenberg's opera Moses and Aaron, this article examines the ways in which the composer dramatized the conflict between the two Biblical brothers by setting leitmotifs in opposition, conveying the tension (between the visual and verbal portrayal of God) in terms of an abstract, symmetrical system.en_US
dc.identifier.citationBoss, J. (2013). Interval Symmetries as Divine Perfection in Schoenberg’s Moses und Aron. Konturen, 5, 31-58. doi:http://dx.doi.org/10.5399/uo/konturen.5.0.3251en_US
dc.identifier.doi10.5399/uo/konturen/5.0.3251
dc.identifier.issn1947-3796
dc.identifier.urihttps://hdl.handle.net/1794/24391
dc.language.isoenen_US
dc.publisherUniversity of Oregonen_US
dc.rightsCreative Commons BY-NC-ND 4.0-USen_US
dc.titleInterval Symmetries as Divine Perfection in Schoenberg's Moses und Aronen_US
dc.typeArticleen_US

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