Author: Moseley, Brian C.
Title: Twelve-Tone Cartography: Space, Chains and Intimations of \'Tonal Form\' in Webern\'s Twelve-Tone Music
Institution: CUNY Graduate Center
Begun: January 2009
Completed: August 2013
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.
Keywords: Anton Webern, Transformation Theory, Musical Space, Twelve-Tone Theory, Musical Form
PART 1: THEORY AND METHODOLOGY
Chapter 1: Transformation Chains, Syntax, and Representation
Chapter 2: Twelve-Tone Cartography
PART 2: ANALYTICAL STUDIES
Chapter 3: “Theme,” “Key,” and “False Recapitulation” in Webern’s Quartet, Op. 22, II
Chapter 4: Musical Images of Nature in the Cantata I, Op. 29