A Theory of Segmental Association in Twelve-Tone Music

Abstract

A: Examples and discussion SEGMENTAL relations between different forms of a row can and often do play an important constructive role in much twelve-tone music. In any of Schtnberg's pieces, for instance, many significant consequences of the hexachordal construction of the rows are apparent upon even the most cursory examination of the music. The row 00 of the Violin Concerto Op. 36 is of typical hexachordal structure (Ex. 1): there is an inverted form, Io, such that the segment consisting of the first six pitch-classes of 00 is also a segment (the last six pitch-classes) of Io; likewise, the segment consisting of the last six pitch-classes of 0o is also a segment (the first six pitch-classes) of Io. 00 I I I I

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