Fundamentals of Musical Composition

This book is based on Schoenberg's thorough analyses of music mostly the classical period that includes copious examples and textual references to the works of Beethoven, Mozart and Haydn. It is a guide for the student and teacher in composition as projected out from late 18th and early 19th century practice. The best consideration was given to melodic construction with reference to aesthetic principles but with too much emphasis onunderlying harmonic structure. I believe that Schoenberg wrote stereotypical pieces in each genre for himself in order to understand the harmonic and formal schemes better. His discussions lead from his investigations. I found the exposition of all the larger forms at the end of the book dull reading though and wonder why he left out the basic Binary Form, which is so controversial in the development of the Sonata Form. This has significance in the recent scholarship by Charles Rosen and others,who focus on the construction of Scarlatti Sonatas and those of the pre classics like Sammartini in order to show the evolution of the development section or Durchfuhrung, the word that the author uses frequently. A good question is how exact, thorough and useful is the discussion of Phrase and Motive compared to modern treatises on those subjects. There is a controversial claim that the motive is the shortest unit of music by the authors at the Indiana University School of Music , but a phrase still remains impossible to define. Further on, I wonder if the early Rondo directly influenced the later Sonata-Rondos. The book could be considered a bit dated because there is no recognition of what is commonly called harmonic rhythm, a concept discovered by W. Piston. The analyses of chordal structures is somewhat in error for disregarding this. The odd thing about Schoenberg is that none of his music represents an assimilation of the concepts of the classical tradition nor did he write anything approaching real counterpoint in any of the pieces he wrote in later years, and this is said about a consummate master in this style.

One of the most informative music texts I've ever read, Schoenberg's Fundamentals book still holds up well in the year 2020. I would describe it as the perfect text for someone who has a decent knowledge of music theory (an assumption that I believe the book makes in its opening), but who could benefit from insight on how to create music ranging from the smallest motives to the largest, most complex forms. This book has changed how I view many different musical concepts, such as the difference between a "melody" and a "theme", and although it is primarily written from the standpoint of western tonal music, its principles can be applied to art music and popular music of any style and sound.

Shoenberg's group of essays reads easily, and has a coherence that gives purpose to his subject matter. The work is a happy marriage of his technical content in "Style and Idea" and his earlier tonal works. In fact, and by that I mean my opinionated observation, these essays are written as though in the form of an extended requiem. Organized into twenty movements, my 20th Century musical hero begins "lightly" by discussing the concept of form. He then plays through motive constructions, melodic connections, and the different parts of form, keeping all his instruction neatly connected. At times, it seemed like I could hear music flowing out of his words, paragraphs, and punctuation. This book is more than a course for music student and/or composer; it is a flavorful experience for all five senses, unless you are unfortunate enough to have received a previous owner's toilet read.

I have studied a lot of books on composition and in my opinions this is the best damned book on how to write music. Although Schönberg gave us atonality, this books is all about learning how to write traditional music. The books is very systematic in its approach and relies on Arnold's own mastery of traditional music. If you don't believe me, listen to Jacob's Ladder and other works prior to his serial music. Please keep in mind that this books requires knowledge of rudiments of music theory. If you need to brush up on that, may I suggest Paul Harder's fantastic book on the subject: Basic Materials in Music Theory.

Schoenberg admitted that his English was poor, and this book is no exception. The text is clumsy but Schoenberg made up for on the examples. If nothing else, his transformations of the motive alone is a good reason to buy the book.

I feverishly am in the process of brushing up on my music theory as I am making an attempt to move from songwriter to film, TV, etc. composer. I have always done some orchestration, arranging, etc but mainly by ear even though I studied music a long time ago in college. As I progress from one book to another I have come across several good books and this is one of the best so far. It really covers a lot of great theory from motive writing to larger works. Along with great musical examples (mainly Beethoven) this book is great and I highly recommend it . Fundamentals of Musical Composition

Great for beginners. Gives a solid grasp on the basics.

Classical form and analysis from a great composer. Very detailed with original sketches and examples.

"Fundamentals of Musical Composition" may be an excellent book for advanced composers who can appreciate the nuances of the delicate balance between chaos and order (repetitions, variations on themes). But the word 'fundamentals', while possiby correct, is a bit misleading in this case. If anything, it is more like a "Philosophy of Musical Composition", enjoyable to those who have spent many hours composing and knowing enough to connect the dots. To those people, the book may well be worth four or five stars. However, I can only judge it as myself, and for a beginner, I cannot give more than two stars. I am fully aware that I may do Mr Schoenberg great injustice with this, but I can only hope that these two stars will at least warn some people that this book is not ideal if you want to start composing and learn the basics.

This book exposes the concepts regarding musical form and composition in a very concise and clear way. I have to read it very slowly because ther's so much wisdom in every explanation. Maybe in just one or two sentences the author exposes ideas that have huge implications and relevance, so it challenges me to think deeply about musical form and composition. Highly recomended.

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Autant la musique de Schoenberg n'est pas accessible à tout le monde et peut être contestable, autant ce livre est une mine d'informations et de concept autour de la composition. Les + : - Beaucoup d'analyse de cas concret ( surtout Beethoven, Hayden, Mozart et Bach) - Une vrai aide (voir mémo) pour les personne souhaitent s'instruire ou se parfaire dans l'art de la composition Les - : - Schoenberg n'est pas écrivain, et sa façon d'écrire est parfois déroutante, il a une tendance à dévier du sujet initiale pour y revenir plus tard. - Les exemples renvoient parfois à des partitions plus tôt ou plus tard dans le livre, c'est parfois dur à suivre Je le conseille tout de même aux personne sachant lire la musique(clé de sol et fa, il ya parfois de la clé d'ut3) et qui ont de bonnes connaissance en harmonie

Ótimo