Abstract
This essay presents a rhythmic analytical theory for Schoenberg's middle-period music. It represents polyphony as concurrent streams created by regularly recurring accents, and shows how the relations of synchrony that obtain among pulse streams, motives, and textural voices create musical form. The theory is used to analyze Mondestrunken and Columbine from Pierrot lunaire. The analyses correlate pulse-stream processes to the syntax of the songs' texts, and reveal similarities of rhythmic design in these pieces. They also accommodate the contributions of some often neglected musical dimensions, such as contour and dynamics, to form. This content downloaded from 40.77.167.105 on Thu, 14 Apr 2016 07:00:53 UTC All use subject to http://about.jstor.org/terms
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