Secondary and Disjunct Order-Position Relationships in Webern's Op. 20

Abstract

W A TE TEND TO think of the twelve-tone system as one that offers the composer sophisticated possibilities for the organization and control ofintervallic succession in a composition. However, even if all the notes in the composition conform to the given row, total limitation to the referential interval ordering is virtually impossible.' Unless the composer imposes enormously restrictive limitations on his instrumentation, registral assignments and partitioning, interval, and of course pitch, successions are bound to occur that are not ordered segments of any of the systematically related transformations of the row. In the sixty years since Schonberg first formulated the twelve-tone system composers have devised a number of different kinds of solutions to this problem, solutions that vary widely in method, scope and interest. My purpose here is

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 2 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.