Cutting: A purely formalistic editing style that employs a sequence of shots that is totally divorced from any recognizable subject matter or content. Example: Hans Richter, Rhythmus 21, Germany, 1921. 35 appropriate are Cutting to Continuity and Classical Cutting. Sequence Shots, an editing style used in the earliest film, cannot be applied to the FMI because the underlined situations in the Film Music Scenario (see Figure 2.1) correspond to chronologically non-contiguous scenes, suggesting editorial cuts. Too much time has been condensed for the action to be depicted without using more sophisticated techniques. Abstract Cutting and Thematic Montage are also not possible because Berg’s film cannot be divorced from its recognizable linear narrative. The Film Music Scenario and the annotations in the score show that there are cause and effect connections between scenes, events, images, and actions. The events in the FMI proceed in a logical sequence within condensed time: the omitted moments of action do not hinder perception of the continuity of the film. All of these characteristics are important elements of Cutting to Continuity. Berg’s film also contains some instances of Classical Cutting, most notably his indications for Lulu’s emotional expressions that take over the mise-en-scène several times in the film. These indications are found in mm. 664 (“in nervous expectation”), 668 (“dwindling hope”), 683 (“resignation”), 690/91 (“awakening will to live”), 705 (“growing hope”), and 707 (“in nervous expectation”). All of these reactions are results of preceding stimuli, but are not necessary for maintaining the film’s narrative. A technique borrowed from Classical Cutting is the graphic match. The graphic match is created when the filmmaker connects two adjacent or almost adjacent shots by graphic similarities. These graphic similarities can be the shapes, colors or tones, speed or direction of movements, and other visual connections shared by the filmed images. In mm. 686-688, already shown in Example 1.2a, there is an implied graphic match near the fermata in m. 687. It appears that Berg uses Lulu’s shadow on the wall followed closely by Lulu’s image in the muck shovel to represent 6 David Bordwell and Kristin Thompson, Film Art: An Introduction (Reading, Mass., Menlo Park, Calif., London, Amsterdam, Don Mills, Ont., and Sydney: Addison-Wesley Publishing Company, 1979), 154-55. 36 not only a passage of time, but also to draw a connection between these shots. This technique will be further explored later in this chapter. The FMI consists of many paired events that are to be presented so as to create a mirrorlike palindromic structure in order that the listening audience can comprehend the connections of pairs both visually and aurally. Though the FMI’s scenes, events, images, and actions are paired within this palindromic structure creating parallel connections, they take place at separate times and do not suggest cross cutting or parallel editing. According to Berg’s annotations in the score and Film Music Scenario, the FMI does not contain any instances of simultaneous time. Although musical passages that accompany paired events recur as expected, they are changed the second time in that they are retrogrades of their first statements. There is no shifting of musical passages or events from their logical places in order to help increase the sense of time or to create simultaneous time. The lack of parallel events makes it difficult to conclude that Berg’s putative montage relies on Classical Cutting alone; more likely the FMI’s montage possesses the editing style of Cutting to Continuity in combination with elements of Classical Cutting. The logical, straightforward narrative provided by the annotations in the score and the Film Music Scenario is prominent and is seasoned with extra psychological intensity by highlighting Lulu’s emotional states at certain moments in the film and in the music (thus implying close-ups). Exploring the establishing shots in the FMI reveals how important a scene-by-scene or shot-by-shot analysis is to the understanding of the FMI’s filmic aspects and putative montage. The annotations in the score and the Film Music Scenario suggest what the composer wanted to The use of paired events should not be confused with the film term “parallel events.” According to Giannetti, in film parallel events, which are used in Classical Cutting, are two or more different events that take place at the same time. Shots of these different events are connected through cross cutting in order to create a sense of spontaneous time: separate places, same time, moving from one scene to another to impose continuity. See Giannetti, Understanding Movies, 139-40 37 happen in the film on a scene-by-scene or shot-by-shot-level. The rest of this chapter will deal with framing techniques and editing devices in the FMI. Fades, Dissolves, and Graphic Matches Both fades and dissolves are framing techniques and editing devices that make an image appear or disappear gradually onscreen. They are used for joining two shots together without creating the rapidly occurring visual line that is made by a simple cut. Two kinds of fades in film are the fade-out and the fade-in. Both involve the black screen, but work in opposite ways. Giannetti defines the fade-out as “the snuffing of an image from normal brightness to a black screen”; the fade-in is the opposite: the image emerges gradually from black screen to normal brightness. The dissolve, also called a lap dissolve, is a kind of fade that differs from other fades in that it involves previously occurring and newly occurring filmed images and not the black screen. Giannetti perceives the dissolve as possessing both fade-out and fade-in functions. He defines the dissolve as “the slow fading out of one shot and the gradual fading in of its successor, with a superimposition of images, usually at the midpoint.” In the FMI’s film, there are few logical places for fades and dissolves to occur. Fades and dissolves could be used to connect every pair of shots or scenes in this film, but this would diminish the effectiveness of these techniques by over-using them. This short film, which lasts for less than 2 minutes and 48 seconds, would go by too quickly to be effective if every scene were connected by fade-outs or fade-ins. Berg’s annotations and certain changes in the FMI’s musical surface might suggest that the use of fades and dissolves in the film should be as content-driven and connected to the music as possible. This section will explore these places in which fades and dissolves can be used effectively in the FMI. 8 The smallest unit of film, the frame, is unable to be interpreted at all by the audience and is therefore less structurally important than the scene or shot. 9 Giannetti, Understanding Movies, 509. 10 Ibid., 508. 38 There are two passages of Curtain Music in the FMI: the first occurs at the beginning and the second occurs at the end. The FMI’s first Curtain Music, mm. 652-655, is shown in Example 2.1. Based on the fading ostinatos and the annotations in the score, one might expect that the music would accompany the closing of the curtain, followed by the black screen and then the first image of the film in normal brightness. The curtain closes, somehow the screen comes down onto the stage, and then the curtain opens just enough to show the screen (see Figure 2.1). The passage accompanying the curtain begins with the crescendo and is followed by a decrescendo (see Example 2.1). The part of the passage marked decrescendo contains fading ostinatos. The fading ostinatos possess an action that seems both to accompany and to oppose the first action of the camera: the music would fade as the first image emerges from black screen. The image could emerge suddenly or it could gradually come into view, but the music seems strongly suggestive of the latter. But while the ostinatos of the first Curtain Music fade out the onscreen image could surely be expected to fade in. Both media would fade, but in opposite directions. The second Curtain Music, mm. 719-721 in Example 2.2, possesses the same fading ostinatos as the first in retrograde. From the fading ostinatos and the annotations in the score, it seems that the music might accompany the end of the film, a black screen, and the opening of the curtain. The end of the film, perhaps a black screen, accompanied by the very beginning of the second Curtain Music, would follow either the last image of the film or would occur gradually as the last image gradually fades out. A fade-out in the film at this moment would be analogous to the fade-in accompanied by the first Curtain Music. This time both media would fade out together.

/pdf/alban-berg-s-filmic-music-intentions-and-extensions-of-the-30bdyxl9c4.pdf

Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula

In textural density and thematic development, it is generally agreed that Alban Berg's (28852935) Opus 6 orchestral pieces (191+15)-Priiludilrnl, Reigen, and Marsclr-are the most complex music in his output. In order to understand these works better, the thesis examines documents from the composer's Nacltlass. Berg's compositional process is discussed, his sketchbooks reconstructed and selectively transcribed, and his textual revisions given critical commentary. Nncltlnss materials clarify the relation between Opus 6 and other i terns from this period (Op.4, Op.5, the Syrrrplro~ric-Frasnre~ttc, and the earliest sketches forWoz=:*ck), document the Berg-Schoenberg relationshp, suggest programmatic contents (Berg's R w p seems based on Arthur Schnitzler's play), and account for the early performance and publication histon'. It is maintained that sketch and Particell documents protvide clues to, and corroborating support for, analytical interpretations. me principal analytical took employed in the study are: structural \.oice-leading (Schenkerian) analysis, atonal pitch-class set analysis, and the analysis of formal function. The chapter divisions are: (1) Introduction: a PraIudium on matters of purpose, procedure, and plan; (2) The Composition of Opus 6: "ein Entstehungsreigen"; (3) .4 March through the Documents; (1) Praltidirinr: "composing between the tones"; (5) Reigm: blocks, chains, and cycles; sonority, theme, and form; (6) "Interlude": performance and publication history of Opus 6; and (7) Marsch eirres A~tkmatik~rs: a documentary and analytical study. Prefatory Acknowledgements In departure from the colwention which re!egates personal thanks to the end of this section, I would like to acknowledge first and foremost my indebtedness to my wife Diane Martello, to my son Dante and daughter Dylann, to my brother Paul, and to my parents Enid and Me1 McLean for their unfailing love and understanding, and for their artful blend of aggravation, consolation, distraction, and great hugs. I have also been blessed with a variety of excellent working environments for the necessarily extended periods of time: first in Toronto, later in Montreal, and most especially, during the summer months. at Canada's best-kept cottage-country secret-the Beausoleil First Nation Reserve on Christian Island in Georgian Bay. I owe a great debt to the University of Toronto for my formative training. In particular, I have been most fortunate to have had the counsel of Robert Falck as my teacher and thesis supervisor over a period of several years. His breadth of interest, his knowledge of matters German and Nerr Viennese, and his steadfast and patient criticism have rendered the document better at every turn than it might otherwise have been. To another of rn!. original readers, Edward Laufer, I owe profound gratitude for the sharing of his great musical and analytical gifts; though we have had too little time together on traditional Schenkerian matters and almost no time at all on the work under discussion, I have been deeply influenced by Laufer's musical attitude in all my work. Among the many excellent others at the University of Toronto. 1 would like to single out Harvey Olnick and the late Godfrey Ridout for their early support and encouragement in my musicological studies; John Hawkins, John Beckwith, and John Weinzweig for their compositional focus; and Rika Maniates for so freely sharing her superior intellectual and critical faculties. In the final stages of the project, I also received helpful input from members of the defense committee: David Beach, Mark DeVoto, Modris Eksteins, James Estes, Robert Falck, John Hawkins, and Mary Arm Parker. ;.,in the other side of the lectern, I can now acknowledge the indirect but important contribution made by many of my own students over sixteen years-graduates and undergraduates; performers, composers, and researchers-both at the University of Toronto and at McGill University in Montreal. Though the eagerness of their constant demands has sometimes slowed my progress, their willingness to let me raise so many moments of musical greatness to consciousness has kept me alive to the reasons we all signed up in the first place. Since moving to Montreal in 1989, 1 have enjoyed the patient support of McGill University and its Faculty of Music. The Faculty has been a firstrate artistic and academic environment in which to exchange and develop ideas; in particular, I have been a happy participant in many animating musical-theoretical discussions with my immediate senior colleagues: Bo Alphonce and William Caplin. In addition, over the last three years at ILlcGill, I have enjoyed a rewarding professional partnership r\?ith Brian Alegant (now at Oberlin Conservatory) in a program of research funded by the Social Sciences and Humanities Research Council of Canada, entitled Mofivc and Hierarchy in Torzal, Post-tor~al, and Twelve-tone Mtrsic. For a long time (at least since my Canada Council Special M.A. in 1978) it had been my goal to set sail on a doctoral topic that would prepare the way for something like the Motive and Hierarchy Project; however, as the rocky shoals of circumstance and obligation intervened, the winds of influence reversed and some of my ideas for the Project blew back onto the dissertation. So I would like to extend special thanks to SSHRC for funding this dissertation project at both ends, albeit inadvertently. It has been my privilege in this project to have received the recognition and support of a number of agencies which I here most gratefully acknowledge: the Social Sciences and Humanities Research Council of Canada, for a Special M.A. award many years back when several of the ideas in this study had their first tentative formulation, and for a Doctoral Fellowship Award in the early stages of this project; the University of Toronto and the Connaught Foundation for a Connaught Fellowship at the beginning of my doctoral program; the American Musicological Society (cosupported by the National Endowment for the Humanities), for an AMS 50 Doctoral Fellowship Dissertation Award in what we all hoped would be the final stages of the project; and to the Board of Governors, the Graduate Faculty, and the Royal Institute for the Advancement of Learning a t McGill University for occasional travel assistance to conferences, for computing facilities, and for a deeply appreciated sabbatic leave over the 1995-96 academic year. Documentary work on this dissertation was facilitated by the staff of se\.eral institutions in Vienna: Ernst Hilmar, Wiener Stadtund Landesbibliothek; Gunther Brosche, Nationalbibliothek Musiksammlung, particularly Rosemary Hilmar Moravec who kept watch over the Berg documents during my research sojourns there; Regina Busch, Alban Berg Stiftung; Marion von Hartlieb and Gucki Hanisch, Universal Edition; and Gerhard Rill, Haus-, Hof-, und Staatsarchiv, for information concerning the Wiener Staatsoper. Additional information and permission to use materials was gratefully received from: Amim Eisenach, Staatsbibliothek, Berlin; Rigbie Turner, Pierpont Morgan Library, New York; Wayne Shirley, Library of Congress, Washington; Lawrence Schoenberg; Maria Halbich-Webern; Perspectizyes of New Music; and Universal Edition and their agents European American Music Distributors. For kindly sharing various pre-publication materials I am also grateful to Mark DeVoto, Tufts University; Robert Falck, University of Toronto; Edward Laufer, University of Toronto; Walter Salmen, Universitat Innsbruck; and David Schroeder, Dalhousie Universitj-. On a more personal level, it was my great good fortune one summer to be looking at Berg documents in Vienna across the table from Mark DeVoto, who was working on Berg's notebooks and the Altenberglieder sketches. Besides being great fun, Mark was most generous with his Bergiana expertise-though he would probably not have agreed so readily to become the external reader on this project if he had had any inkling how long it would take to come to fruition! On the last day of my trip that same summer I formed an instantly profound and far too brief friendship with Erich Alban Berg, the composer's nephew. Invited for Inuse (afternoon tea), I experienced the genuine Wiener Gemiitlicltkeit that bears no resemblance to today's touristic veneer. We danced round the parlour with his grandchildren and talked deeply about his memories of Berg and of the time of the Anschiuss. I was too moved and uplifted to sense the full portent of the moment a s I waved from the streetcar, but Erich knew it would be the last time we met. The final portion of the Mnrsclz chapter is dedicated to his memory. Finally, I have the highly unusual task of repudiating certain anonymous parties in a parting rave. To the persons unknown whodoubtless in a blind grab for material goods later to be exchanged for drug money-stole many irreplaceable research documents and analytical notes relating to this and other projects as I packed them into our car to leave New York City on Easter Sunday 1989: damn you. Though it is my sincere hope that the interim has seen an improvement in your social situation and material well-being, the loss of so many important items and the attendant delays in finishing this work have caused untold grief and have occasioned more debilitating stress than I or my family shall ever care to relive.

A documentary and analytical study of Alban Berg's Three pieces for orchestra

The music composed to accompany the film in Berg’s Opera Lulu--the “Film Music Interlude” (FMI)--is the subject of this study. Although this is film music, and Berg wrote his own Film Music Scenario, scholars have ignored writings about film theory and film music in their historical and analytical treatments of the FMI. How do writings about film theory and film music apply to the analysis and exploration of historical and social contexts of the FMI, and what musical and extramusical intentions and extensions can be drawn from the FMI? Some answers come to light while exploring sources containing Berg’s correspondence with Schoenberg, Adorno, and Morgenstern as well as the biographies on Berg by Morgenstern and Erich Alban Berg. Other answers emerge through the analysis of filmic aspects of the FMI and from selecting and examining exceptional ideas found in writings about film theory and film music (from the early 1920s to 1937) as well as reviews about the FMI at the world premiere of the opera. Chapter 1 provides a serial analysis of the FMI as a self-contained piece, focusing on the palindromic musical structure, Berg’s serial procedures and use of liquidation, and the dramatic meaning. Chapter 2 examines how Berg employs characteristically cinematic techniques (dissolves, wipes, and graphic matches) in the FMI’s music. Chapter 3 explores early writings about film theory and film music by, among others, Balázs, Musil, Arnheim, London, Schoenberg,and Adorno and how their ideas apply to the FMI. Chapter 4 investigates and presents for the first time translations of selected passages from the reviews of the 1937 premiere by, among others, David, List, Milhaud, Peyser, Reich, and Schuh. Berg’s intellectual milieu included writers on film theory and film music and while composing the FMI he was interested in film and its potential for the New Music. The most important conclusions are that the FMI is filmic music, Berg employed an editing style for his putative montage, the FMI’s fictional film can be classified as a crime film, and the FMI at its premiere received more positive and neutral reviews than negative ones. 

The musical language of the "Symphonic Pieces" from "Lulu"

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The musical language of the "Symphonic Pieces" from "Lulu"