The stylistic trace of baroque dances in Arnold Schönberg's piano suite, op. 25.

The subject of this study is the exploration of certain genre formulas highlighting baroque semantics in Arnold Schoenberg's piano suite, op. 25. In this context, the compositional techniques employed by the composer to signify the genres of baroque dances within the twelve-tone writing technique are examined. The object of the research is the piano suite, op. 25, which is based on several baroque dances that constitute the traditional foundation of the suite genre. Being subject to stylistic preparation and genre deformation by the author, the dances have lost their capacity to be directly recognized by ear. Only a special study of the genre formulas of baroque dances, an understanding of their structure, and the ability to recognize elements of the intonational complex of a particular dance will reveal their barely noticeable genre trace within the polyphonic fabric of this suite. Through textological methods of examining the musical score, a comprehensive analysis of the genre features of the suite, and its compositional canons, the semantic aspects of baroque intonational models in Schoenberg's suite have been identified from the perspective of twelve-tone composition: characteristic rhythmic combinations of the menuet, gavotte, and stroke markers. Palindromic figures, genre invariants of baroque dances, and their reflected replicas in the suite were investigated. As a result of the study, it became evident that the composer relies on those genre quotations and allusions that influence the formation of the dance structure and align with the intellectual nature of seriality, while not being distinctly expressed intonational characteristics of a specific baroque dance. Such quotations mainly include meter-rhythmic formulas of dances, through which the author not only emphasizes the semantics of their archaisms but also hints at the peculiarities of the evolution of some of them. The main result of this research can be seen as the identification of genre traces of baroque dances hidden in the polyphonic text. The practical value of the research lies in the application of its results in the performance and musicological analysis of 20th-century music, the depth of which can facilitate understanding of the characteristics of semantics and the structure of the musical language of this composition, helping the interpreter to overcome the intellectual nature of serial technique in order to create a meaningful and charismatic concept of the work.

genre trace, dodecaphony, baroque model, allusion, genre quotation, migrating formula, antique suite, intonation complex, pattern thinking, series