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005 20141212083838.0;

008 891120s1991 enkg b 001 0 eng ;

010 a| 89070843;

020 a| 0521390885;

035 a| (Sirsi) o20758102;

035 a| (OCoLC)20758102;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML410.W33b| B34 1990;

082 00 a| 781.2/68/0922| 20;

100 1 a| Puffett, Kathryn.=| ^A512274;

245 14 a| The twelve-note music of Anton Webern :b| old forms in a new language /c| Kathryn Bailey.;

246 3 a| 12-note music of Anton Webern;

260 a| Cambridge [England] ;a| New York :b| Cambridge University Press,c| 1991.;

300 a| xii, 462 pages :b| music ;c| 26 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Music in the twentieth century ;v| 2;

504 a| Includes bibliographical references (pages 454-488) and index.;

520 a| This important study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition introduced by Arnold Schoenberg in the 1920s was one of the most important musical innovations of the century. Its adoption by his pupil Anton Webern had profound consequences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed analyses, however, Professor Bailey demonstrates a fundamentally traditional aspect to Webern's creativity, particularly in his continued use of classical forms such as sonata, rondo, theme and variations, etc., and in his consistent use of traditional language and concepts when describing his own music. The author analyses 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 analyses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcriptions of little-known drafts and sketches. A valuable aspect 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 constructed for each, and exhaustive row analyses.;

600 10 a| Webern, Anton,d| 1883-1945x| Criticism and interpretation.=| ^A28042;

650 0 a| Twelve-tone system.=| ^A31189;

830 0 a| Music in the twentieth century ;v| 2.=| ^A275257;

919 a| BOOK;

596 a| 3;

998 a| 396557;

999 a| ML410.W33 B34 1990w| LCc| 1i| 30372005957516d| 6/30/2020e| 5/22/2020f| 3/26/2024g| 6l| MSTm| JMUSICn| 20r| Ys| Yt| MGESBKu| 9/28/1991x| BOOKz| MCIRCo| .STAFF. enhanced 9/28/22 -jjab;

The twelve-note music of Anton Webern : old forms in a new language / Kathryn Bailey.

Author/creator	Puffett, Kathryn
Format	Book
Publication Info	Cambridge [England] ; New York : Cambridge University Press, 1991.
Description	xii, 462 pages : music ; 26 cm.
Subjects	Webern, Anton, 1883-1945--Criticism and interpretation. Twelve-tone system.

Variant title	12-note music of Anton Webern
Series	Music in the twentieth century ; 2 Music in the twentieth century ; 2. ^A275257
Contents	The rows -- Row topography -- Canon -- The movements in sonata form: Opp. 20/ii, 21/i, 22/i, 24/i and 27/i -- The movements in variation form: Opp. 21/ii, 24/iii, 27/iii, 28/i and 30 -- The movements in rondo and ternary forms: Opp. 20/i, 22/ii, 24/ii, 28/ii and 28/iii -- The movement in binary form: Op. 27/ii -- Das Augenlicht -- Cantata I -- Cantata II.
Abstract	This important study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition introduced by Arnold Schoenberg in the 1920s was one of the most important musical innovations of the century. Its adoption by his pupil Anton Webern had profound consequences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed analyses, however, Professor Bailey demonstrates a fundamentally traditional aspect to Webern's creativity, particularly in his continued use of classical forms such as sonata, rondo, theme and variations, etc., and in his consistent use of traditional language and concepts when describing his own music. The author analyses 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 analyses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcriptions of little-known drafts and sketches. A valuable aspect 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 constructed for each, and exhaustive row analyses.
Bibliography note	Includes bibliographical references (pages 454-488) and index.
LCCN	89070843
ISBN	0521390885

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML410.W33 B34 1990	✔ Available	Place Hold

The twelve-note music of Anton Webern : old forms in a new language / Kathryn Bailey.

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