此論文旨在探究對稱技巧在十二音創作概念與實踐之間的關係。前者抽象、後者具體。我先在第一章指出十二音系統内的對稱潛質，再在其後兩章分析對稱技巧在荀白克的《摩西與亞倫》及魏本的交響曲作品21第二樂章内的展現。荀白克“音樂意念及“發展變奏這兩個概念，在《摩西與亞倫》扮演着重要的角式，大大影響了作品内對稱的處理；而魏本對音樂的“一體性“及“可瞭解性“的堅持，亦決定了交響曲第二樂章中對稱的演譯。最後一章總括十二音作曲概念及實踐的關係，並展望日後的研究方向。 / Through an analytical study of Schoenberg’s Moses und Aron and Webern’s Symphony Op.21, second movement, my thesis aims at exploring a central issue in interpreting symmetry in twelve-tone music: the relationship between abstract conception and concrete realization. / In Chapter one, I endeavour to contextualize the uses of symmetry in twelve-tone music within contemporary theoretical perspectives. After defining my methodology, subsequent chapters are analytical examinations of two pieces. Chapter two explores how Schoenberg’s uses of symmetry in the opening of Moses und Aron might be closely associated with his conception of “idea and “developing variation. Chapter three considers the ways in which the symmetrical manifestations in Webern’s variation movement demonstrate his concern for “unity and “comprehensibility. After studying the two composers’ different symmetrical treatments Chapter 4 revisits the relationship between abstract conception and concrete realization in twelve-tone composition, and suggests implications for further research. / Detailed summary in vernacular field only. / Liu, Man Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Abstract --- p.i / Abstract (Chinese) --- p.ii / Acknowledgements --- p.iii / List of Figures --- p.vi / List of Music Examples --- p.viii / Chapter Chapter 1 --- Abstract Conception versus Concrete Realization in Twelve-Tone Music --- p.1 / The Twelve-Tone System and its Symmetrical Potentials --- p.5 / Methodology, Selection of Pieces and Overview of Chapters --- p.8 / Chapter Chapter 2 --- Schoenberg’s "Idea" and Twelve-Tone Symmetry --- p.11 / Compositional Concerns / Row Design, Motive, Developing Variation and "Idea" --- p.14 / Moses und Aron: The Idea of God and the Twelve-Tone System --- p.20 / Pre-Compositional Plan / Schoenberg’s Divine Order --- p.28 / Compositional Practice / Realization of Unimaginable God --- p.33 / Realizations of Basic Set (P₉) and its Inversion (I₀) --- p.38 / Implications: Manifestation of Divine Order --- p.44 / First "Image": Musical Representation of the Row by Aron --- p.47 / Second "Image": Musical Representation of God by Aron in the Golden Calf scene --- p.53 / Schoenberg’s Allegory: Irreconcilability in Realizing "Idea" --- p.58 / Chapter Chapter 3 --- Webern’s Variationen and Twelve-Tone Symmetry --- p.64 / Compositional Concerns / Webern and Symmetry --- p.69 / Analytical Perspectives on Symphony Op.21, Second movement --- p.70 / Pre-Compositional Plan / Webern’s Statement on Symphony Op.21, Second movement --- p.73 / Compositional Practice / Thema --- p.77 / Variation I --- p.81 / Variation II --- p.85 / Variation III --- p.92 / Variation IV --- p.96 / Variation V --- p.101 / Variation VI --- p.105 / Variation VII --- p.107 / Coda --- p.110 / Summary --- p.112 / Chapter Chapter 4 --- Epilogue --- p.115 / Pre-Compositional Row Designs --- p.116 / Presentations of Rows in Their Music --- p.116 / Implications for Further Research --- p.119 / Select Bibliography --- p.121

Roberto Gerhard was a twentieth-century Spanish composer known for his unique treatment of the twelve-tone system. A student of the Spanish nationalist composer, Felipe Pedrell in Barcelona and also a pupil of Arnold Schoenberg in both Vienna and in Berlin, Gerhard's musical trajectory led to a synthesis of these disparate compositional traditions. In this dissertation I will explore the development of Gerhard's compositional procedures. Here, his first string quartet, composed between 1950 and 1955, becomes a useful tool to illustrate how he made the transition from one musical style to another. Gerhard's first string quartet, composed between 1950 and 1955 exhibits various experimental formal procedures but is governed by a single twelve-tone row. The work is composed in the twelve-tone idiom, but nationalist elements decorate the musical surface. The first movement follows the classical model of sonata-allegro form, while mathematical proportions govern durations and formal elements in later movements. I will first investigate Gerhard's musical language and pitch material and then consider the challenges raised by implementing sonata form outside of a tonal idiom. I will then examine his unique mathematical approach to formal design in the third movement. In addition to the string quartet, I will explore Gerhard's treatment of form in such works as his Wind Quintet (1928) and Metamorphoses--Symphony no. 2 (1957-59). / text

Thesis (Ph. D)--University of Rochester, 2008. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7669

Thesis (Ph. D.)--Princeton University, 1981. / Typescript. "This essay and the Chamber concerto together constitute the dissertation but are otherwise inrelated." Includes the author's Chamber concerto, for flute, clarinet, violin, violoncello, and piano (1 ms. score (73 p.)). Includes bibliographical references (leaf 114).

Thesis (D.M.A.)--Ohio State University, 2007. / Title from first page of PDF file. Appendix B (p. 103) includes embedded audio file. Appendix C (p. 104) refers to accompanying PDF files. Includes bibliographical references (p. 105-107).

Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.

This study makes available in English translations the three most important theoretical writings of the Austrian composer Josef Matthias Hauer (1883—1959), whose experiments with atonal and dodecaphonic music are discussed in the treatises. The treatises are Vom Wesen des Musikalischen: Grundlagen der Zwolftonmusik, Vom Melos zur Pauke: eine Einfuhrung in die Zw51ftonmusik, and Zwftlftontechnik: die Lehre von den Tropen. In addition to the translations and commentary the dissertation includes a sketch of Hauer's career and an examination of his claim that he—not Arnold Schoenberg—was the inventor of the dodecaphonic school of composition.

Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.

This creative project was a musical composition constructed upon the "in series" principle of interval connection which entailed the systematic linkage of all melodic and harmonic materials through rigorously maintaining the configuration of intervals inherent in the original statement. The piece, a septet entitled A Solo Symphony, is an extended four movement composition. The score, and a recording made at the University Composers Exchange Fourteenth Annual Festival held at Ball State University in 1965, is located in the appendix which supplements a paper describing the compositional process. / School of Music

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