7/4 Posted May 19, 2008 Report Share Posted May 19, 2008 Debussy and Schoenberg If Schoenberg emancipated the dissonance, did Debussy emancipate the consonance? Even if the answer isn’t yes, this strikes me as an interesting question. Schoenberg took dissonanct sonorities from late 19th-century German composers and, instead of continuning to treat them as elaborations of standard harmonies, he treated them as sonorities in their own right — without need for “resolution.” Is this not what Debussy did as well — but with unaltered sonorities like dominant sevenths, ninths, open fifths and so forth? Comment from Ivan Sparrow Time: March 9, 2007, 1:30 pm Debussy liberated harmony from its functional constraint. He thus helped make the transition from “harmony” to “sonority”, an important difference carried and developed by the likes of Varèse, Xenakis and Feldman, to name a few. Quote Link to comment Share on other sites More sharing options...
7/4 Posted May 19, 2008 Author Report Share Posted May 19, 2008 I'm pointing. . Quote Link to comment Share on other sites More sharing options...
Spontooneous Posted May 20, 2008 Report Share Posted May 20, 2008 Schoenberg emancipated consonance too, but people don't know it yet. Who'll emancipate music from people who only talk about its vertical dimension? Quote Link to comment Share on other sites More sharing options...
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