abstract: Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement. / Dissertation/Thesis / D.M.A. Music 2011

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.

Abstract Jeanine Rueff ́s Sonata is a dodecaphonic piece for an unaccompanied saxophone. The aim of this thesis is two fold: First I will do an analysis of the Sonata to try to discover if she used some characteristic series (original, inverted, retrograde, inverted-retrograde...) in her style or, otherwise, she wrote free form. Then, I am going to talk about this technique and the evolution from classical music to atonality and, eventually, I am going to perform the piece in my final master recital. Key words: Saxophone, Jeanine Rueff, twelve-tone technique, classical saxophone, analysis, musical research, Daniel Deffayet.

Orientador: Lia Tomás / Banca: Florivaldo Menezes Filho / Banca: Vladimir Pinheiro Safatle / Resumo: Esta dissertação tem como tema a relação entre teoria e prática da técnica dodecafônica em Adorno. Enfoca a crítica efetuada por Adorno à técnica dodecafônica no ensaio Schoenberg e o progresso, as noções de dessensibilização do material e de obra tardia e algumas peças musicais compostas por Adorno em seus anos de exílio na Inglaterra e nos EUA. Pretende com isso mostrar a afinidade existente entre a crítica teórica de Adorno ao dodecafonismo serial mais ortodoxo e o caráter idiossincrático dos procedimentos seriais e da concepção formal presentes em algumas de suas últimas composições. / Abstract: This dissertation has as theme the relationship between theory and practice of the twelve-tone technique in Adorno's work. It focuses the critic made by Adorno to the twelve-tone technique in the essay Schoenberg and the progress, the notions of desensitization of the material and of late work and some musical pieces composed by Adorno in his years of exile in England and in the USA. It intends with that to show the existent likeness among Adorno's theoretical critic to the more orthodox twelve-tone technique and the idiosyncratic character of the serial procedures and of the formal conception present in some of his last compositions. / Mestre

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

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.

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.

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