The Twelve-Note Music of Anton Webern安东·韦伯恩的十二音音乐 mobi 下载 网盘 caj lrf pdf txt 阿里云

　　This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound c***equences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed ***yses, however, Professor Bailey ***s a fundamentally traditional ***ect to Webern's creativity, when describing his own music. Professor Bailey ***yses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These ***yses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include tran*i*** of little-known drafts and sketches. A most valuable ***ect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix c***tructed for each, and exhaustive row ***yses.

Acknowledgements

Conventi*** in the text

Introduction

Part I. Row and Canon: Introduction to Part I

　1. The rows

　2. Row topography

　3. Canon

Part II. The Instrumental Music: Introduction to Part II

　4. The movements in Sonata Form: Opp. 20/ii, 21/i, 22/i, 24/i and 27/i

　5. The movements in variation form: Opp. 21/ii, 24/iii, 27/iii, 28/i and 30

　6. The movements in rondo and ternary forms: Opp. 20/i, 22/ii, 24/ii, 28/ii and 28/iii

　7. The movement in binary form: Op. 27/ii

Part III. The Music With Voices: Introduction to Part III

　8. Das Augenlicht

　9. Cantata I

　10. Cantata II

Conclusion

Appendices

Notes

Glossary

Chronological worklist

Select bibliography

Index.

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　　This important new study reassesses the position of Anton Webern in twentieth-century music. Although his use of the twelve-note method of composition was widely seen as revolutionary, Professor Bailey shows that Webern maintained a fundamentally traditional attitude when describing his own music.

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This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound c***equences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed ***yses, however, Professor Bailey ***s a fundamentally traditional ***ect to Webern's creativity, when describing his own music. Professor Bailey ***yses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These ***yses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcripti*** of little-known drafts and sketches. A most valuable ***ect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix c***tructed for each, and exhaustive row ***yses.