Form and Tonal Spectrum in 12-Tone Music: Approaches to Analysis in Schoenberg, Walker, and Webern

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dc.contributor.advisorBoss, Jack
dc.contributor.authorDidier, Alex
dc.date.accessioned2023-03-24T19:00:00Z
dc.date.available2023-03-24T19:00:00Z
dc.date.issued2023-03-24
dc.description.abstractApproaches to analysis in 12-tone music have been predominantly focused around the concept of atonality. Building off of ideas first imagined by theorists such as Heinrich Schenker and Arnold Schoenberg, I propose that all music can be understood as tonal using nature’s model, the overtone series. Through a detailed description of the organic nature of tonality, my work suggests that what was once understood as a dissonance can be reimagined as a new type of consonance. Analyzing passages of 12-tone music from Arnold Schoenberg, George Walker, and Anton Webern, I provide a means for expanding upon traditional Schenkerian Analysis, which has been traditionally limited to music of the 18th and 19th century. I suggest that all music with “tones” can be considered tonal, and that background-level graphs representing higher partials can be used to categorize musical passages as “more” or “less” tonal, in a traditional sense.en_US
dc.identifier.urihttps://hdl.handle.net/1794/28106
dc.language.isoen_US
dc.publisherUniversity of Oregon
dc.rightsAll Rights Reserved.
dc.subject12-Tone Musicen_US
dc.subjectAtonalityen_US
dc.subjectDidieren_US
dc.subjectMusic Theoryen_US
dc.subjectTonalityen_US
dc.titleForm and Tonal Spectrum in 12-Tone Music: Approaches to Analysis in Schoenberg, Walker, and Webern
dc.typeElectronic Thesis or Dissertation
thesis.degree.disciplineSchool of Music and Dance
thesis.degree.grantorUniversity of Oregon
thesis.degree.levelmasters
thesis.degree.nameM.A.

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