An Acquisition and Demonstration of Expanded Chromatic Connectivity in Webern’s Fünf Sätze für Streichquartett, Op. 5, movement I, through the Examination of Fixed Pitch Class Derived from Examples of Pitch Class Set 3-3 in Accompanimental Contexts.

Osborne, Kenton An Acquisition and Demonstration of Expanded Chromatic Connectivity in Webern’s Fünf Sätze für Streichquartett, Op. 5, movement I, through the Examination of Fixed Pitch Class Derived from Examples of Pitch Class Set 3-3 in Accompanimental Contexts. 2016. Radford University, Thesis. Radford University Scholars' Repository.

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Abstract

The first movement of Anton Webern’s Fünf Sätze für Streichquartett Op.5, Heftig bewegt, is an intensely fragmented, mosaic-like example of motivic construction. Despite the complexities of the composition, a seminal pitch class set arises, providing a unified source between the horizontal and vertical dimensions. Furthermore, Webern utilizes fixed pitch classes between adjacent chords that serve as the locus for other permutations within supersets of pitch class set 3-3 within those collections of pitches. This document will begin with a macro-analysis that describes how performance technique differentiates the elements of melody, accompaniment, and polyphony, allowing for conclusive accompanimental roles to be determined. Pitch class set 3-3 and its frequently recurring supersets will be introduced, demonstrating the significance of this set as a motive on horizontal and vertical dimensions. When examining the accompanimental harmonies in their most expansive eight-note construction, it becomes clear that two unique vertical eight-pitch sets occur at moments of the piece that would qualify as being cadential, resulting in clear sectional delineation. A microanalysis of the exposition reveals the distinct relationship of these cadential moments to the vertical sectional material preceding it, and how the conclusive harmonic material contains fixed pitch classes between subsequent chords, which when observed through voice leading reductions, demonstrate contours of chromaticism that further enforces the influence of pitch class set 3-3 as the foundational constructive figure of Heftig bewegt.

Item Type:	Thesis
Subjects:	M Music and Books on Music > M Music
Divisions:	Radford University > College of Visual and Performing Arts > Department of Music
Date Deposited:	28 Jul 2016 10:31
Last Modified:	20 Apr 2023 18:22
URI:	http://wagner.radford.edu/id/eprint/248

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