Tonality and Atonality in Alban Berg’s Four Songs, Op.2

“Tucker neatly shows Berg’s compositional progression from common-practice harmonic norms to more innovative tonal possibilities. Tucker holds a firm command over three analytical techniques: harmonic theory, Schenkerian theory, and pitch-class set theory. Applying each of the three methods in turn, Tucker unwraps the Songs’ ambiguities, disclosing Berg’s use of traditional tonal functions in new ways and supposed new material in traditional ways. . . . Unlike assumptions of previous studies, Tucker finds that tonality and atonality, at least as applied by Berg, are mutually supportive rather than mutually exclusive. . . Although Tucker limits his analysis to Berg’s music, it is very tempting to generalize his findings to atonal compositions of other composers. For this reason, Tucker’s work will likely influence the thinking of other music theorists, leading to further reconsideration of a fascinating period in the previous century’s ‘contemporary’ music.” – Harold E. Fiske

Table of Contents:
Preface; Analytical Conventions; Introduction
1. Tonality, Atonality, and Berg’s Pitch Structures
2. An Overview of Berg’s Four Songs
3. Song 3, “Nun ich der Riesen Stärksten überwand”
4. Song 2, “Schlafend tragt man mich in mein Heimatland”
5. Song 1, “Schlafen, Schlafen, nichts als Schlafen!”
6. Song 4, “Warm die Lüfte”
Conclusion
Appendix: Texts and Translations
Sources Cited; Index

>> See all our Music-Musicology books