This dissertation proposes a theory and methodology for creating musical spaces, or maps, to model form in Webern’s twelve-tone compositions. These spaces are intended to function as “musical grammars,” in the sense proposed by Robert Morris. And therefore, significant time is spent discussing the primary syntactic component of Webern’s music, the transformation chain, and its interaction with a variety of associational features, including segmental invariance and pitch(-class) symmetry. Throughout the dissertation, these spaces function as an analytical tools in an exploration of this music’s deep engagement with classical formal concepts and designs. This study includes analytical discussions of the Piano Variations, Op. 27 and the String Quartet, Op. 28, and extended analytical explorations of the second movement of the Quartet, Op. 22, and two movements from the Cantata I, Op. 29.
|Advisor:||Straus, Joseph N.|
|Commitee:||Hook, Julian, Lambert, Philip, O'Donnell, Shaugn|
|School:||City University of New York|
|School Location:||United States -- New York|
|Source:||DAI-A 75/02(E), Dissertation Abstracts International|
|Keywords:||Austria, Musical space, Transformation theory, Twelve-tone, Webern, Anton|
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