Thesis (M.A.)--University of Rochester. / Reproduced from typescript. Includes bibliographical references (leaves 129-131). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1307

Zugl.: Diss., Westfälische Wilhelms-Universität, Münster, Westfalen, 2006.

Dissertation--Münster--Westfälische Wilhelms-Universität, 2006. / Bibliogr. p. [344]-357.

Zugl.: Münster (Westfalen), Univ., Diss., 2006

Lamentatio Jeremiae Prophetae, Opus 68, composed by Ernst Krenek in 1941, is a musical work that is difficult to analyze and classify due to its fusion of contrasting musical styles. The pervasive dissonance of the work shows its modern twelve-tone organization, yet other aspects more closely resemble the sacred music of the early Renaissance. Analysis of Lamentatio solely in terms of the atonal twelve-tone system belies the work's full complexity and range of expression. While the twelve-tone system is the basis for the organization of the work, Krenek radically modifies the system to allow for more possible combinations of tones through an innovative technique he calls "rotation." The primary objective of this study is to consider the influence of early Renaissance sacred music, particularly that of Johannes Ockeghem, on certain aspects of Lamentatio, including the text, pitch organization, form and structure, rhythm and meter, and expressive markings. The study reveals that though the pitch organization is based on the twelve-tone system, Krenek uses the increased flexibility granted by his rotation technique to create implications of the modal system of the Renaissance. In the other aspects considered, the music of Lamentatio also bears clear Renaissance influences. A thorough understanding of these earlier influences in Lamentatio will influence both future performances and written characterizations of this enigmatic work.

Thesis (doctoral) - Universität, Münster, 2006. / Includes bibliographical references.

Thesis (Ph. D.)--Princeton University, 1985. / Includes bibliographical references.

Ernst Krenek is noted and often criticized for the diversity of his overall output. However, one finds that his entire output is held together by a unique temperament regardless of stylistic changes. It is significant to compare the piano works to one another as the piano was the instrument he repeatedly turned to while testing new stylistic ideas. In writing about Krenek's music, Glenn Gould states eloquently and concisely that three qualities prevail in all of Krenek's mature output: the lyric, elegiac, and euphonic. These qualities are present in the early Toccata und Chaconne uber den Chorale, "Ja, ich glaub an Jesum Christum," Op. 13. It is lyrical in that melody is of utmost importance. One finds that melodic writing prevails in the other piano works as well regardless of when they were written. The elegiac also permeates the work. The Toccata and Chaconne shares with other later works this quality of seriousness, repose, and deep meaning. The Toccata and Chaconne is also euphonic. Krenek's overall style is one which does not shock or offend an audience. In a detailed comparison of the Toccata and Chaconne to later piano works, one may clearly see what Krenek specifically does musically to create this sense of the lyric, elegiac and euphonic in his overall output.

The purpose of this study is to explore neoclassical elements present in Krenek’s George Washington Variations. By identifying the stylistic features associated with the eighteenth and twentieth centuries, the study will examine Krenek’s application of his neoclassical tendencies. Key neoclassical elements include musical form and structure, key relationships, melody and harmony, and chromaticism. Since at this time there is little research on Krenek’s piano works, and none on the George Washington Variations, the result of this examination provides pianists and instructors with historically constructive information about Krenek’s musical style, as well as a deeper understanding of Krenek’s Neoclassicism in his George Washington Variations.

Igor Stravinsky's precompositional process was so methodical that his move to serialism is no surprise. After becoming acquainted with the music of Schoenberg and Webern, Stravinsky was moved to experiment with serial techniques. He rejected many of the conventional approaches developed by the serial architects, only to adopt the technique at its basic form—the use of a series of pitches—and cultivate it into his own compositional style. Stravinsky continued to refine his style throughout his serial period (1951–1966) as each composition grew increasingly more serial than the last. For each work composed after 1960, Stravinsky constructed rotation arrays, a serial technique he adopted from Ernst Krenek. These arrays consisted of a twelve-tone row partitioned into hexachords, with each hexachord rotated to create five additional permutations per hexachord. These permutations were then transposed so that the first pitch of the original hexachord was retained for each permutation. This operation was performed on four series forms: prime, inversion, retrograde, and inversion of the retrograde (favored by Stravinsky over the traditional retrograde inversion form). It is from his rotational arrays that Stravinsky systematically chose hexachords to compose A Sermon, a Narrative, and a Prayer (1961); The Flood (1962); Abraham and Isaac (1963); and Requiem Canticles (1966). Though his precompositional charts are very specific in determining pitch application, it is difficult to account for the use of some hexachords that are found in these works but not found in Stravinsky's charts, as the hexachords do not explicitly appear in the charts. Many analysts have glossed over these incongruities. For instance, Joseph Straus mentions very little about these “anomalous hexachords” in Stravinsky's Late Music (2001); and Claudio Spies completely ignores the hexachords in question. In this paper I will identify these anomalous hexachords and attempt to explain their derivation from Stravinsky's charts.