| Summary: | 博士 === 國立臺北藝術大學 === 音樂學系博士班 === 99 === Arnold Schoenberg (1874-1951) was a composer of “Gedanke” in his monumental aesthetics of music; thus, this dissertation aimed to discuss exterior and interior linkages between his aesthetics of music and the practice in vocal music. The first part of this dissertation sorted out Schoenberg’s aesthetics of music and arts, especially on his “poetics of music,” inheritage of German music tradition, and the parallelism between his music and the modern art, the coordination and dialectics of which established his inner world of logics and became his foundation of creativity. In the second part, it was to survey Schoenberg’s varied aesthetical practice in vocal music on his transformation of styles and ideas. More than merely hidden beneath, it is believed that there were some particular “inner processes” which dominated his musical phenomenon, which might refer to his belief and conviction in Judaism, numerology, his nationalistic thought, and the “musical prose” inherited from German masters. The astounding “dramatic quality” of his vocal works demonstrated all Schoenberg’s techniques directly from German masters; in addtion, his vocal music was a sophisticated showcase of Wagner’s Gesamtkunstwerk, late romanticism, expressionism, and even the “alienation effect” (Verfremdungseffekt) in Brecht’s epic theater, which made Schoenberg a true modernist. Besides the classical music tradition, Schoenberg also proceeded with his musical evolution in the realm of modernism and the trivial music so intricately that it might lead his musical ideas to achieve a more creative production in originality of musical art, e. g., Sprechstimme. In spite of the famous three “unfinished torsos” of Schoenberg (Jakobsleiter, Moses und Aron, and The Modern Psalm) remaining unfinished yet performable, they were his prophetic proclamation about his “chosen-one” belief, and which means much more than some outsets of his journey in music.
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