An extract on #beachbabes
He was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl, a servant girl in the Berg family household. His daughter, Albine, was born on December 4, 1902.
Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony. By 1906, he was studying music full-time; by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben Frhe Lieder), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year. The early sonata sketches eventually culminated in Berg's Piano Sonata, Op. 1 (19071908); it is one of the most formidable "first" works ever written. Berg studied with Schoenberg for six years until 1911. Berg admired him as a composer and mentor, and they remained close lifelong friends.
Among Schoenberg's teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea; this idea was later known as developing variation. Berg passed this on to his students, one of whom, Theodor W. Adorno, stated: "The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different". The Piano Sonata is an examplethe whole composition is derived from the work's opening quartal gesture and its opening phrase.
Those who do not adhere to the regulative principle of interpreting Christian scripture, believe that limiting praise to the unaccompanied chant of the early church is not commanded in scripture, and that churches in any age are free to offer their songs with or without musical instruments.
Those who subscribe to this interpretation believe that since the Christian scriptures never counter instrumental language with any negative judgment on instruments, opposition to instruments instead comes from an interpretation of history. There is no written opposition to musical instruments in any setting in the first century and a half of Christian churches (33 AD to 180AD). The use of instruments for Christian worship during this period is also undocumented. Toward the end of the 2nd century, Christians began condemning the instruments themselves. Those who oppose instruments today believe these Church Fathers had a better understanding of God's desire for the church, but there are significant differences between the teachings of these Church Fathers and Christian opposition to instruments today.
Modern Christians typically believe it is acceptable to play instruments or to attend weddings, funerals, banquets, etc., where instruments are heard playing religious music. The Church Fathers made no exceptions. Since the New Testament never condemns instruments themselves, much less in any of these settings, it is believed that "the church Fathers go beyond the New Testament in pronouncing a negative judgment on musical instruments."
Written opposition to instruments in worship began near the turn of the 5th century. Modern opponents of instruments typically do not make the same assessment of instruments as these writers, who argued that God had allowed David the "evil" of using musical instruments in praise. While the Old Testament teaches that God specifically asked for musical instruments, modern concern is for worship based on the New Testament.
Since "a cappella" singing brought a new polyphony (more than one note at a time) with instrumental accompaniment, it is not surprising that Protestant reformers who opposed the instruments (such as Calvin and Zwingli) also opposed the polyphony. While Zwingli was burning organs in Switzerland Luther called him a fanatic the Church of England was burning books of polyphony.
Some Holiness Churches such as the Free Methodist Church opposed the use of musical instruments in church worship until the mid-20th century. The Free Methodist Church allowed for local church decision on the use of either an organ or piano in the 1943 Conference before lifting the ban entirely in 1955.