Arnold Schoenberg Peripetie and William Grant Still Afro-American Symphony

This article explores the compositions of Arnold Schoenberg's Peripetie and William Grant Still's Afro-American Symphony. It discusses the complex rhythms, harmonies, and melodies in these masterpieces.

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Part 1: Arnold Schoenberg “Peripetie”
Arnold Schoenberg born an Australian but later one changed his nationality to an
American has been termed as one of the greatest composers of the 20th Century. In addition to
that, he was a teacher, writer as well as a painter who left a big mark in the art industry. One of
his greatest works was popularly known as Peripetie. This composition formed the fourth piece
from “Five Orchestral Pieces” (The Doctor, 1). This piece was originally composed in 1909 and
it means “A sudden reversal” which entails ideas that commence of the movement that are then
reversed to the end.
In Peripetie the rhythms are not only complex but also tend to change suddenly. In some
instances of the piece, there are some different layers that form patterns which in the end forms a
reasoning rhythm. Through the application of the above named rhythmic approach, then the
piece adopts a contrapuntal texture that blends quite easily with the each other (The Doctor, 1).
The contrapuntal effect is actualized through the occasional appearance of both monophonic and
homophonic aspects. Important to note is the fact that the piece adopts an atonal and dissonant
harmony.
The melody being brought out as a result of the above effects is both comforting and
relaxing. This is because of the tendency they have in expressing one intense emotion through

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the short pieces. According to The Doctor (1), the use of the different combination of
instrumental colors formed an effective result as that of the melody. Again the form as used in
this masterpiece is of short melodic ideas that promoted the flow of the piece. Lastly, the
arrangement of timber by Schoenberg has additionally assisted in offering the right
synchronization as that produced by melody. This song uses strophic form using small changes
in verses. The combinations of the above basics of melody were common in pieces composed
during the 20th century and reflect a contemporary culture having dance styles that have
individuality and sense of freedom.
Part 2:
William Grant Still’s “Afro-American Symphony”
William Grant Still was responsible for the creation and composition of this unique solo
masterpiece in 1930. Indeed, this piece has been stated to have been the first to be written by an
African American. Beac82 (1) asserts that later on the piece was also performed in a wide range
of places across the US. Here, scholars have labeled this piece as having an integration of both
Still’s perception of the black culture while diffusing the same into classical forms.
The melody in this masterpiece has largely been embodied in a harmonic form through
the use of chord extensions (Beac82, 1). The same element is notable in tonic harmonies that are
rampant especially at the minor seventh interval. This approach is unique in that it allows the
incorporation of various unstable elements common in most African-American vocal music to a
unique amazing tonic approach. Harmony is created in this context through various choruses
such as especially in the first statement as contained in the primary theme.
Through the piece, the Afro-American Symphony, the composer has ensured that the
texture of the piece is realized through not applying any tonic chords throughout (Beac82, 1).

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Here, this approach is unique as it ensures that the generation of harmonic and melodic interest is
realized in the orchestra. Further to that, the same component has been attained through the
creation of an initial assent that forms the pathway to Kopfton. The song applies the rondo form
where one section repeats after every new content i.e. ABACABA.
Throughout the piece, one can note the different manner in which the rhythms fluctuate
forming various themes as seen fit by the composer. Here, Still is able to not only establish the
precise augmentation but also ideal transposition of the adopted “blues” theme. Timber as in this
case, reveals the appearance of the banjo aspect in the very first symphony. In addition to that, it
becomes quite easier for other elements such as dance and the black folk-music to be further
defined appropriately (Beac82, 1). Being an African American composer, Still’s form as in this
context can be defined as being an expression of the African American cultural ways. Notably
also is the variance of the rhythm, harmony and melody throughout the piece that tends to
present various emotions and themes. African-American culture is reflected in the message that
the song passes involving African-American concerns and encouragement to remain strong.
Conclusion
Arnold uses rhythms which are not only complex but also tend to change suddenly in his
song. In some instances of the piece, there are some different layers that form patterns which in
the end forms a reasoning rhythm. William on the other side uses timber in his masterpiece in the
form of short melodic ideas that promoted the flow of the piece. The melody in this masterpiece
has largely been embodied in a harmonic form through the use of chord extensions.

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Works cited
Beac82. “William Grant Still: Afro-American Symphony - I. Moderato Assai” YouTube. Oct 31,
2012. https://www.youtube.com/watch?v=2OXmKehGDmE
The Doctor. “Peripetie- Arnold Schoenberg” YouTube. Jan 26, 2010.
https://www.youtube.com/watch?v=QNCIz-_QFrs