Skip to main content

Arnold Schoenberg, Avant-Garde Composer, Creates a System of Symbols for Notating Tennis Matches

This time each summer, as the conclusion of this year's fortnight-long championship at Wimbledon approaches, even the most private of the tennis enthusiasts in all of our circles make themselves known. Love of that particular game runs down all walks of life, but seems to exist in particularly high concentrations among cultural creators: not just writers like Martin Amis, Geoff Dyer, and David Foster Wallace, all of whose bodies of work contain eloquent thoughts on tennis, but composers of music as well.

Take Arnold Schoenberg, who well into his old age continued not just to create the innovative music for which we remember him, but to spend time on the court as well. Though born in Vienna, Schoenberg eventually landed in the right place to enjoy tennis on the regular: southern California, to which he fled in 1933 after being informed of how inhospitable his homeland would soon become to persons of Jewish heritage. Few famous composers of that time had less in common than Schoenberg and George Gershwin, but their shared enjoyment of tennis made them into fast partners.

According to Howard Pollack's life of Gershwin, fellow composer Albert Sendrey left a "revealing account" of one of the weekly matches between "the thirty-eight-year-old Gershwin and the sixty-two-year-old Schoenberg, contrasting the alternately 'nervous' and 'nonchalant,' 'relentless' and 'chivalrous' Gershwin, 'playing to an audience,' with the 'overly eager' and 'choppy' Schoenberg who 'has learned to shut his mind against public opinion.'" Any parallels between playing style and musical sensibility are, of course, entirely coincidental.

The cerebral nature of Schoenberg's compositions may not suggest a temperament suited for physical activity of any kind, but even in Austria Schoenberg had been a keen sportsman. And as a fair few tennis-loving writers have explained, the game does possess an intellectual side, and one made more easily analyzable, at least in theory, by a system of Schoenberg's invention. "Toward the end of his life, Schoenberg — always fascinated by rules, analysis, and invention — would come up with a form of notation to transcribe the tennis matches of his athlete son Ronald," writes Mark Berry in Arnold Schoenberg. You can see this system laid out on the sheet above, recently posted on Twitter by Henry Gough-Cooper.

The marks look vaguely similar to those of certain dance notation systems, a natural enough resemblance considering the kind of footwork tennis demands. But ideally, Schoenberg's notation would also have rendered a game of tennis as comprehensible as one of chess — another pursuit to which Schoenberg applied his mind. He came up with "an expanded four-player, ten-square version of the traditional game," writes Berry, "involving superpowers and lesser powers all compelled to forge alliances, with new pieces such as airplanes, tanks, submarines, and so forth." Schoenberg's "coalition chess," as he called it, seems to have caught on no more than his tennis notation system did. But then, the man who pioneered the twelve-tone technique never did go in for mass acceptance.

via and Henry Gough-Cooper on Twitter

Related Content:

Arnold Schoenberg Creates a Hand-Drawn, Paper-Cut “Wheel Chart” to Visualize His 12-Tone Technique

Vi Hart Uses Her Video Magic to Demystify Stravinsky and Schoenberg’s 12-Tone Compositions

John Coltrane Draws a Picture Illustrating the Mathematics of Music

Notations: John Cage Publishes a Book of Graphic Musical Scores, Featuring Visualizations of Works by Leonard Bernstein, Igor Stravinsky, The Beatles & More (1969)

Bob Dylan and George Harrison Play Tennis, 1969

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

Arnold Schoenberg, Avant-Garde Composer, Creates a System of Symbols for Notating Tennis Matches is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2Lf9QhK
via Ilumina

Comments

Popular posts from this blog

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

A 10 Billion Pixel Scan of Vermeer’s Masterpiece Girl with a Pearl Earring: Explore It Online

We admire Johannes Vermeer’s  Girl with a Pearl Earring   for many reasons , not least that it looks exactly like a girl with a pearl earring. Or at least it does from a distance, as the master of light himself no doubt stepped back to confirm countless times during the painting process, at any moment of which he would have been more concerned with the brushstrokes constituting only a small part of the image. But even Vermeer himself could have perceived only so much detail of the painting that would become his masterpiece. https://www.youtube.com/watch?v=cKaZYTwmjwU Now, more than 350 years after its completion, we can get a closer view of Girl with a Pearl Earring  than anyone has before through a newly released  10 billion-pixel panorama . At this resolution, writes Petapixel’s Jason Schneider , we can “see the painting down to the level of 4.4-microns per pixel.” Undertaken by Emilien Leonhardt and Vincent Sabatier of 3D microscope maker Hirox Europe ...

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...