Diss.--Vienne, 1988. / Bibliogr. p. 242-252.

Thesis (M.M.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 54-55).

No description available.

Diss.--Universität Freiburg, 2001. / Bibliogr. p. 275-285.

Not available / text

Thesis (Ph. D.)--University of Texas at Austin, 1962. / Vita. Bibliography: l. 341-343.

Thesis (M.M.) Florida State University, 2004. / Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 126 pages. Includes biographical sketch. Includes bibliographical references.

Texte remanié de: Dissertation--Philosophische Fakultät III--Berlin--Humboldt-Universität, 2000. / Bibliogr. p. 275-[294].

... I understand the word 'Art' as meaning the faculty of presenting a thought in the clearest, simplest form, that is, the most "graspable" form ... That is my view of art. And that is why I have never understood the meaning of 'Classical', 'Romantic1 and the rest, and I have never placed myself in opposition to the masters of the past but have always tried to do just like them: to say what it is given to me to say with the utmost clarity … Anton Webern / Arts, Faculty of / Music, School of / Graduate

Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors. A brief biography is included in the paper and Webern's professional career as a conductor is viewed and considered as to its affect on the creation of the Symphony with emphasis on his relationship with Schoenberg and the Society for Private Musical Performance. The genesis of the Symphony and its early performance history is examined, as well as the structure of op. 21 with specific examples of Klangrfarbenmelodien. These techniques include the presentation of melodic lines in terms of octave register, timbre, dynamics, articulation, durations, rhythm, and instrumentation.