"Manipulations of Time in Schoenberg's Op. 22, Vier Orchesterlieder"
This paper explores issues of temporality in Schoenberg's Op. 22, Vier Orchesterlieder, using Christopher Hasty's "Meter as Rhythm" as an analytical framework. Hasty's method involves the use of natural intuitions of rhythm to comprehend music as an unfolding process, and attempts to move the listener beyond the abstract formalism of a score or other spatial representation of a musical work and provide a means for understanding it as it occurs. In particular, I will address the way in which Schoenberg creates feelings of rhythmic expansion and contraction in the second song, "Alle, Welche dich Suchen."