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Rational Structures in the Late Works of Anton Webern. Judith Marie Fiehler Louisiana State University and Agricultural & Mechanical College

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Rational Structures in the Late Works of Anton Webern. Judith Marie Fiehler Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 Rational Structures in the Late Works of Anton Webern. Judith Marie Fiehler Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Fiehler, Judith Marie, "Rational Structures in the Late Works of Anton Webern." (1973). LSU Historical Dissertations and Theses. 2539. https://digitalcommons.lsu.edu/gradschool_disstheses/2539 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photon aph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. 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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 74 - 18,335 FIEHLER, Judith Marie, 1939- RATIONAL STRUCTURES IN THE LATE WORKS OF ANTON WEBERN. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1973 Music University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. RATIONAL STRUCTURES IN THE LATE WORKS OF ANTON WEBERN A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Philosophy In The School of Music by Judith Marie Fiehler B.A., Louisiana Tech University, 1961 M.Mus., Louisiana State University, 1965 December, 1973 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREFACE One of Che most interesting questions presently open to musi- cological study is that of tracing the development of Webern's mature style. This style is remarkable for its high degree of logical organization, richness of structural resources, and ingenuity of developmental procedures, as well as its inventive musicality. Webern's insistence on the validity of the application of logical organization to music has rarely been discussed in the context of his intellectual and musical background. Many of his post-war adherents venerate him for this insistence, implying he was a logical positivist. Well-informed, conscientious musicians and aesthetes who oppose him generally do sojon this point. Some have found Webern's music to be a summit in a long line of musical and humanistic tradition, while others have considered it to be a parody of that tradition. Although the reasoning put forth by these groups is important both musically and philosophically, it is possible that none of them assesses Webern's intentions as they were formulated. It seems that the problem of the use of logic in music pre­ occupied Webern for most of his adult life, and that the compositional algorithm which he finally adopted was based on both philosophical and musical principles. These principles are similar to certain trends of philosophical thought current in the first decade of the i i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. twentieth century, when Webern was attending the University of Vienna. The process of abstraction seems to be particularly crucial to an understanding of Webern's use of logic. This process has a special meaning in the context of early twentiech-century Viennese thought. Webern's contemporaries architects Adolf Loos, journalist Karl Kraus, Loo's friend and pupil, philosopher Ludwig Wittgenstein, and Webern's teacher and lifelong friend, Arnold Schoenberg, shared a deep interest in the implications of this process. It seems that these men thought that abstraction implies a generalization of perception of configurations occurring in the real world. This generalization is conceptual in nature, for the perception of configurations depends upon the individual who produces the generalization. Abstraction is a means of looking behind appearances, hypothesizing the causes for their formal characteristics. These characteristics can be divided into those which make their causes clear, and those which confuse the perceptibility of these causes by intro­ ducing irrevelant material. With regard to the creation of .new-works of art, it was thought that the elimination of the latter type of characteristic improved the configuration by permitting clarification of its meaning or function. This somewhat neo-classic view of the role of abstraction in art seems compatible with certain passages in Webern's published writings. Webern's mature style presents an additional problem. The tech­ niques of structure and development which he uses are certainly derived from those of the past. However, his style cannot be said to display logical continuity with traditional styles such as those of J. S. Bach, i i i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Beethoven-, Brahms, and Mahler. Webern adopts the logical procedures of these styles, but generally forms systems out of them which are isomorphic to mathematical cyclic groups of finite order. These systems, unlike those appearing in earlier works, are closed, and can be constructed to cover all desired configurations. The use of these systems seems to be an extension of the technique of pitch serializa­ tion developed by Webern's teacher, Arnold Schoenberg. Whether the formation of such systems in music is defensible from a musical standpoint seems to rest on one's subjective musical insight. The present study contains analyses which are observations of the structural utility of these systems, without judging their moral rectitude. For practical reasons, the present study is based only upon material in print at the time of its formation. Unpublished documents, particularly those in the recently formed Webern archives, undoubtedly contain information of immense import to the conclusions drawn here. Similar documents of Webern's contemporaries are gradually becoming available, as are reprints of seminal periodicals such as Per Fa eke 1*~ 2 and Per Brenner, with which Webern was apparently familiar. The study of these materials should open a productive field for further study of topics sketched here. Two important studies of Webern's Vienna have recently been 3 A published: Wittgenstein's Vienna and The Austrian Mind. Both studies are broad in scope, discussing social and intellectual trends of an entire era in an illuminating manner, but both are hazy with regard to specific musicological developments of the time. These iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. studies appeared too late to be included in the formulation of the first three chapters, although they generally support hypotheses advanced there. The studies are used in the fourth chapter, which relate Webern's philosophy to that of other twentieth-century thinkers. This study was made p o ssib le through the help of many persons. The author would particularly like to thank Dr. Wallace McKenzie for his patience, insight, and enoouragement, Dr. Kenneth Klaus for introducing the author to the humanistic nature of Webern's style, and Dr. Frederick Crane, whose scholarly approach to musical criticism generated the nucleus of the study. In addition, mathematicians Dr. Gordon Pall,
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