Im Digitalisierungsprojekt „Ernst Krenek lectures online: die musiktheoretischen Vorträge eines Exil-Österreichers“ wurden die im Archiv der Ernst-Krenek-Institut-Privatstiftung aufbewahrten Manuskripte und Typoskripte zu Kreneks Lehrveranstaltungen, Vorträgen und Radiosendungen in einer kuratierten Auswahl online verfügbar und durchsuchbar gemacht, sowie mit begleitenden historischen und biographischen Informationen kontextualisiert.
Digitalisiert wurden rund 90 Schriftgutobjekte mit einem Gesamtseitenumfang von rund 800 Seiten. 75% dieser Objekte sind Manuskripte, die restlichen 25% sind Typoskripte, wobei die Hälfte der Dokumente in deutscher, die andere Hälfte in englischer Sprache verfasst sind. Diese Dokumente stammen aus dem Nachlass Ernst Kreneks und stehen im Zusammenhang mit seiner Lehr- und Vortragstätigkeit sowohl in akademischen Institutionen als auch in Rundfunksendungen.
Textfehler und Schreibfehler wurden übernommen.
Fehlende i-Punkte, Umlautzeichen etc. werden stillschweigend ergänzt. Geminationsstriche werden aufgelöst. Leerzeichen und Abteilungszeichen werden standardisiert.
Fehlende Interpunktion wird nicht ergänzt. In Zweifelsfällen wird das den Rechtschreibregeln entsprechende Interpunktionszeichen erfasst. Striche werden immer als Bindestriche erfasst.
Es werden ausschließlich englisch Anführungszeichen verwendet. Es wird vorlagegemäß zwischen einfachen und doppelten Anführungszeichen unterschieden.
Die Silbentrennung wird vorlagegemäß übernommen.
Der Text wird in Seiten, Textfelder (Paragraphen, Überschriften, Seitenzahlen, Notizen) und Zeilen segmentiert.
Die ersten Seiten dieses „examinations“-Konvoluts sind tatsächlich Kreneks Planung eines 14wöchigen Harmonielehre-Kurses im Wintersemester 1939/40 am Vassar College. Unterschiedliche funktionsharmonische Akkordbeziehungen beschreibt Krenek anhand von Beispielen aus Schuberts Messe in Es-Dur.
Die Prüfungsunterlagen zu Kreneks Kursen vom Wintersemester 1939 bis zum Wintersemester 1941 illustrieren einen kontinuierlichen Aufbau an musikanalytischen Fähigkeiten, die von Beginn an mit kreativer Anwendung gekoppelt waren und im Kurs „Music 410“ offenbar auch die von Seiten der konservativen College-Leitung nicht geschätzte nicht-tonale Musik umfasste.
OUTLINE
Examples from
6:14 means page 6, measure 14
1 Give an example (not exceeding two measures) in three parts (one of them written
in the alto clef) of each of two of the following idioms:
(a) "borrowed dissonance"
(b) "anticipated dissonance"
(c) "consonant 6/4 chord"¬
2 Is it better to begin a downward motion in a melodic line-
(a) with shorter or with longer rhythmic values?
(b) on a strong or on a weak beat?
Answer both questions and give the reasons for your answer.
3 Make the following period unsymmetrical, by extending either the first or the
second phrase by one to two measures, leaving the other phrase unchanged;
1 A composition will be played twice on the gramophone. Write a schematic out-
line of the form, going into details as far as possible.
(a) Mark the main thematic sections by capital letters, their subordinate
constituent ideas by small letters
(b) Indicate "transition", "development", and similar functions of the re-
spective passages, showing the reference of such passages to the
material designated under (a)
(c) Give the key scheme of the main sections of the composition
2 The following is the exposition of a Scherzo. Write a development section of
that scherzo until the beginning of the recapitulation, of approximately
16 to 20 measures.
3 (a) Criticize briefly each of the following five melodies with respect to
their suitability as fugue subjects.
(b) Choose one of them which seems to be the most suitable and write answer
and countersubject; improve the chosen subject by slight alterations if
you feel the need for such changes; in this case formulate the reason
for the alterations made.
(1) A composition will be played twice on the gramophone. Write a schematic
outline of the form, going into details as far as possible:
(a) mark the main thematic sections by capital letters, their
subordinate constituent ideas by small letters
(b) indicate "transition", "development" and similar functions
of the respective passages, showing the reference of such
passages to the material designated under (a)
(c) indicate the key scheme of the main sections of the composition
NOTE: For the sake of orientation, indicate in your
outline the changes of the record sides
(2) Discuss in technical terms the function of the principle of development in
the variation form, and of the principle of variation in the developmen-
tal passages of non-variation forms, especially the scherzo form, re-
ferring to and quoting from
piano
(3) Discuss each of the following five melodies with respect to their suitabil-
ity as fugue subjects. Choose one of them which seems to be the most
suitable and write answer and countersubject; improve the chosen subject
by slight alterations if you feel the need for such; in this case formu-
late the reasons for the alterations made
1. Harmonize the choral example 1.
2. Edit the phrase example 2.
3. Analyze the phrase (ex. 2) as to phrase subdivisions (sections), relationships of
the endings of the sections, in regard to interval tensions and interval combinations;
observe the points of emphasis and indicate how they are approached and realized.
4. Discuss and compare the principles of articulation and construction applied in
examples 1 and 2.
a) harmonise the choral 1
b) edit the phrase 2
c) analyse the phrase 2 as to phrase subdivisions (sections)
relationships of the endings of the sections in regard to
interval
points of emphasis,
realized.
d)
applied in 1 and 2.
1. Compare examples 1 and 2
a) in regard to motivic relationships between the voices;
b) as to how points of emphasis are realized, introduced and left;
c) by what means an effect of finality is produced at the end.
Consider especially the treatment of dissonances and its function in
the design.
2. a) Interpret the chord of example 3 as belonging to some major or minor key and
resolve it as quickly as possible in the tonic triad of that key;
b) indicate whether the chord in question contains more than one harmonic function
of the chosen key and designate these functions;
c) write a non-tonal sequence of four three- to five-part chords of a climactic
character in which the chord of example 3 appears as the third chord of the
sequence.
Compare these two examples in
the voices; how points of emphasis are prepared, introduced
and left; by what means an effect of finality is produced
at the end. Compare especially the treatment of dissonance.
1) Interpret this chord as belonging
to some major or minor key;
resolve it as quickly as possible
in the tonic triad of that key;
indicate whether the chord in
questions contains more than
one function of the key, and
which ones.
2) Write a non-tonal harmonic
climax of five chords
in which the given chord
appears as the third
in the sequence.