In 1924, Herbert Eimert’s Atonale Musiklehre was the first published text to describe a systematic approach to composing atonal music. It contains significant contributions to the discourse on the early development of twelve-tone composition. While Eimert uses the term “atonal” to describe his compositional approach, his definition of atonality demands that all twelve tones be present with none repeated, and that they present as complexes not ordered rows. Eimert’s discussion of atonality differs from others of the same period because he focuses on vertical sonorities and introduces “interlocking complexes”, wherein two separate statements of the aggregate can overlap by one pitch or by a set of pitches. Interlocking complexes are an important feature of Eimert’s string quartet Fünf Stücke für Streichquartett, which was published in 1925 and composed at the same time as Atonale Musiklehre was written. In the foreword to Atonale Musiklehre, Eimert clarifies that he is not the originator of the concept of atonality, rather that he absorbed the ideas of Josef Matthias Hauer and Jefim Golyscheff. Twelve-tone complexes appear first in Golyscheff’s 1914 String Trio. He refers to them as “twelve-tone duration complexes” and labels them in the score. As the name “duration complexes” implies, there are examples of serial rotation of rhythm in the Trio, a technique that is not developed further until the 1950s. Combined with the text of Atonale Musiklehre, the compositions of Golyscheff and Eimert from the year immediately following the book’s publication provide insight into the early development of “atonality” and twelve-tone compositional methods. Investigation of these documents that have not been thoroughly discussed in print provides a broader perspective of the development of these methods of composition.

Orientador: Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T23:26:50Z (GMT). No. of bitstreams: 1 Gado_AdrianoBraz_M.pdf: 3056486 bytes, checksum: a933f5c10e18be7c591f36dfbb5f7576 (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem por objetivo apresentar um estudo de análise em peças de compositores brasileiros que empregaram a técnica de doze sons: Hans Joachim Koellreutter e César Guerra-Peixe. O estudo se justifica por proporcionar o entendimento de obras de relevância histórica no panorama da música do Brasil, porém ainda não exploradas sob o ponto de vista de suas estruturas. A metodologia constou do estudo da história, da teoria e da análise da música no século vinte, das técnicas de análise e das técnicas de composição; da aplicação da análise nas peças, do estudo ao piano e da edição digitalizada das obras manuscritas. A análise está dividida, considerando os aspectos de: motivos e conjuntos; séries e sua utilização; células rítmicas e texturas. A conclusão aponta os processos usados pelos compositores no tratamento original das séries de doze sons e em outras associações de alturas. Com este estudo, espera-se contribuir para maior conhecimento e divulgação da música de compositores brasileiros do século vinte / Abstract: This work aims to present an analysis study of Brazilian composers that have employed the principles of the twelve-tone technique in some of their pieces: Hans Joachim Koellreutter and César Guerra-Peixe. In spite of be part of a relevant historic period in the scenery of Brazil¿s music, this repertory have not been yet explored from the point of view of their structures. The methodology consisted of the study of history, theory and analysis of the twentieth century music; the analysis of the pieces; the study of the pieces at the piano and the realization of the digitalized edition of the manuscripts. The analysis work has considered the following aspects: motives and sets; rows and their application; rhythm cells and textures. The conclusion shows the processes used by composers in an original use of the twelve-tone technique and in other procedures involving different pitch associations. With this dissertation it will be expected more information and spreading of Brazilian composers of the twentieth century music / Mestrado / Mestre em Música