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... 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

Orientadores: Helena Jank, Hans Joachim Koellreutter / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T10:33:22Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_M.pdf: 13062174 bytes, checksum: e5c389bf8723134a6663a1c95f8dafb6 (MD5) Previous issue date: 2002 / Resumo: O presente trabalho tem como objeto de estudo as obras Ricercar a 6 ( do Musikalisches Opter) de J. S. Bach e a orquestração desta obra por Anton Webern que se intitula Fuga ( Ricercata ) a 6 voei. O Musikalisches Opfer ( Oterenda Musical) foi composto em 1747 e a orquestração por Webern data de 1934 - 1935. Através de uma análise comparada procura-se demonstrar quais são os procedimentos utilizados pelo compositor ao explorar os recursos técnicos do estilo contrapontístico e do orquestrador através da técnica Klangtarbenmelodie e da serialização motívicotímbrica. Estabelece-se assim uma correlação de elementos do passado barroco e do presente weberniano assegurados pelo princípio de repetição que estabelece relações coerentes entre os elementos da obra / Abstract: Not informed. / Mestrado / Mestre em Artes

In this study, the Anton Webern's music is considered in two groups: that which was written before Webern adopted the twelve-tone technique, Opp 1-16, and that written in the twelve-tone technique, Opp. 17-31. This division is not intended to represent an attempt at periodization of Webern's music, for the changes of style in Op. 17 are not that significant. But the fact that Webern employed the twelve-tone technique in all the works he wrote after Op. 16 makes this a natural point of division for a study of this sort. Besides the music of Webern, two peripheral areas are included in this study. No attempt has been made at an exhaustive biography of Webern, but facts relative to his life, and impressions about the person are presented. Also, to create a proper perspective for the study of Webern's which existed during the time that Webern lived and composed, is presented.

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.

The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.

This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, in addition to commentary on representative vocal works supported by musical examples. A significant part of this research includes interviews with renowned singers who supply advice for practice and performance-related suggestions. In order for singers and teachers to obtain essential information regarding these solo vocal works, a complete catalog is provided. / Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research. / School of Music

Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.

A presente pesquisa investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos diferentes de performance. De um lado, o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt; de outro lado, o estilo pré-guerra de Stadlen, o qual lança questionamentos sobre o cânone interpretativo estabelecido pelo estilo do pós-guerra. / This research investigates two performance practices of Anton Webern’s Variationen für Klavier, Op. 27 through a comparison between two editions and three recordings of the work. The first edition (the Urtext edition of 1937) and Stadlen’s practical edition of 1979 were compared in regards to the expressive markings added by the composer and the performer, and interpretive aspects of recente literature as well as Stadlen’s texts were considered. Using the software Sonic Visualiser tempo fluctuations were analysed in the recordings by Peter Stadlen (1948), Yvonne Loriod (1961) and Charles Rosen (1969). The results brought to evidence two contrasting performance styles. On the one hand, the post-war style (Cook, 2016) of Loriod and Rosen, marked by the influence of the Darmstadt avant-garde, and, on the other hand, the pre-war style of Peter Stadlen, which calls into question the interpretive canon of the work established by the post-war style of performance.

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