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DISSERTATION
By
2007
Dissertation Committee:
Approved by:
Yoojin Kim
2007
ABSTRACT
ii
Rochbergs first 12-tone work, Twelve Bagatelles for
idioms.
iii
ACKNOWLEDGMENTS
my entire life.
iv
VITA
FIELDS OF STUDY
v
TABLE OF CONTENTS
Page
Abstract ............................................. ii
Acknowledgments ....................................... iv
Vita .................................................. V
Chapters:
1. Introduction ...................................... 1
vi
4. Rochbergs serial music in relation to
traditional style ................................... 79
vii
LIST OF FIGURES
Figure Page
viii
3.10. A matrix of Symphony No. 2 ...................... 76
ix
LIST OF EXAMPLES
Example Page
x
3.6. The 12-tone series for Symphony No. 2 ............. 60
xi
4.9. Two voice-exchanges in Bagatelle No. 12, m. 1 .... 104
xii
4.29. Klangfarbenmelodie in Theme E ................... 124
4.40. Viennese quartal chords, set class 3-5 (016) .... 137
xiii
4.49. Two mirror forms in mm. 123-27 .................. 147
xiv
CHAPTER 1
INTRODUCTION
1
Alexander L. Ringer, The Music of George Rochberg,
The Musical Quarterly LII/IV (October, 1966), 419.
1
the language is contemporary but the adherence to concepts
No. 1.4
2
Joan DeVee Dixon, George Rochberg: A Bio-
Bibliographic Guide to His Life and Works (Stuyvesant:
Pendragon Press, 1992), 156.
3
Ibid., 64.
4
Joan DeVee Dixon, The Twelve bagatelles and Sonata-
Fantasia of Goerge Rochberg: A performers Analysis (DMA
dissertation: Southwestern Baptist Theological Seminary,
1995), 13.
2
dissertation. Since Rochberg employed a complete 12-tone
5
Ringer, 412.
6
Alexander L. Ringer, Current Chronicle, The Musical
Quarterly 45/2 (April, 1959), 231.
7
Ibid., 233.
3
and Symphony No. 2 are representative of two different
8
Steven D. Jones, The Twelve Bagatelles of George
Rochberg, M.M. Thesis. Indiana University, 1974.
9
Dixon, The Twelve Bagatelles and Sonata-Fantasia of
Goerge Rochberg: A Performers Analysis.
4
Allen Fortes set theory and by showing how each segment of
10
the series is used in the piece.
melodic structure.
10
Elmer Takeo Kudo, An Investigation of Twelve-Tome
Usage in George Rochbergs Symphony No. 2. M.M. thesis,
Indiana University. 1974.
5
traditional voice-leading or functional harmony, is also a
work.11
music.
thought that the main difference between his music and that
11
Joseph Straus, Introduction to Post-Tonal Theory (3rd
ed., New Jersey: Prentice Hall, 2005), 130.
12
Dixon, George Rochberg: A Bio-Bibliographic Guide to
His Life and Works, xxiii.
6
developed by Elizabeth Marvin and Robert Morris. This will
7
1. 2 Serial influences in the 1950s
Rochberg said,
13
David Alan Lawrence, A Conductors Study of George
Rochbergs Three Psalm Settings (DMA diss., The Louisiana
State University, 2002), 6.
8
During this period of the middle fifties I
was completely preoccupied with unlocking the
musical possibilities of the hexachord (a
specific structure inherent in the twelve-
tone method) in a thoroughly expressive
fashion.14
14
Dixon, George Rochberg: A Bio-Bibliographic Guide to
His Life and Works, 79.
15
Ibid., xxiii.
9
Rochberg stated that the serial music of the
16
George Rochberg, Reflections on Schoenberg, In The
Aeasthetics of Survival: A Composers View of Twentieth-
Century Music. Edited by William Bolcom (Ann Arbor:
University of Michigan Press, 1984), 61.
10
Johannes Brahms until he was about nineteen or twenty.17
which took place from the late 1940s to the very early
17
Dixon, George Rochberg: A Bio-Bibliographic Guide to
His Life and Works, xxiii.
18
Austin Clarkson and Steven Johnson, Rochberg,
George, Grove Music Online,
http://www.grovemusic.com/shared/views/article.html?from=se
arch&session_search_id=1155613038&hitnum=1§ion=music.23
617 (accessed April 6, 2007).
11
52), which Ringer calls post-Bartokian chamber music.19
19
Ringer, The Music of George Rochberg, 411.
20
Richard Dufallo, Trackings: Composers Speak with
Richard Dufallo (Oxford: Oxford University Press, 1989),
63.
21
Joseph N. Straus, The Myth of Serial Tyranny in
the 1950s and 1960s, The Musical Quarterly 83/3 (Autumn,
1999), 307-10.
12
found himself composing serial music by day and playing
22
Steven Linsay Bannerman, George Rochberg: The Basis
and Evolution of His Aesthetics (M.M. Thesis, University
of Miami, 1982), 40.
23
Michael Linton, George Rochbergs Revolution First
Things 84 (June/July 1998)
http://www.firstthings.com/ftissues/ft9806/opinion/linton.h
tml (accessed October 18, 2005).
24
Dixon, George Rochberg: A Bio-Bibliographic Guide to
His Life and Works, xxiv.
13
Berio (1925-2003) were active composers who were associated
technique.25
25
Dixon, George Rochberg: A Bio-Bibliographic Guide to
His Life and Works, 191.
14
sections. His Third String Quartet (1973), known as the
atonal music.26
26
Ibid., 141-42.
27
Ibid., 69.
28
David Patrick Stearns, George Rochberg, U.S
Composer who Rebelled Against Modernism, Has Died at Age
86, Philadelphia Inquirer (31 May 2005),
http://www.andante.com/article/article.cfm?id=25575
(accessed Feb. 20, 2007).
15
director of publications as well as an editor for Theodore
29
George Rochberg, The Harmonic Tendency of the
Hexachord, Journal of Music Theory 3 (April 1959/1).
16
for Harmonic Identity.30 Thus, he was involved with 12-
nature.31
30
George Rochberg, Weberns Search for Harmonic
Identity, Journal of Music Theory 6/1 (Spring, 1962).
31
George Rochberg, Metamorphosis of a Twentieth-
Century Composer, Music Journal 34/3 (March, 1976), 13.
32
Ibid., 14.
17
1984.33 In this book, Rochberg describes the notion of
past.35
33
George Rochberg, The Aesthetics of Survival: A
Composers View of Twentieth-Century Music (Ann Arbor: The
University of Michigan Press)
34
Ibid., 241.
35
Ibid., 242.
18
ignores boundaries between sonorities of the past and of
the present.36
materials.
music.
36
Jonathan D. Kramer, The Nature and Origins of
Musical Postmodernism, In Postmodern Music/Postmodern
Thought (New York: Routledge, 2002), 16.
19
CHAPTER 2
37
Milton Babbitt, Some Aspects of Twelve-Tone
Composition, The Collected Essays of Milton Babbitt
(Princeton: Princeton University Press, 2003), 39.
20
is not well recognized publicly. However, his interest in
38
This essay was given in a lecture at Princeton
University in 1941, but it was published in English version
in 1950, titled Style and Idea.
21
future, was published in 1936.39 Rochberg seems to be
not extend his idea any further, his article deals with the
1930s.
and the numbers above and below letters indicate the number
39
Richard Hill, Schoenbergs Tone-rows and the Tonal
System of the Future, The Musical Quarterly 22/1 (January,
1936).
40
Ibid., 25.
41
Ibid., 26.
22
intervals using brackets, instead of + or signs, to
42
Richard Hill, Review: Composition with Twelve Notes
Related Only One Another by Josef Rufer, The Hexachord and
Its Relation to the 12-Tone Row by George Rochberg, Notes
12/2 (Mar 1955), 225.
23
segmentation and combination of the series in the melody
and harmony.43
Schoenbergs late serial works (Op. 25, Op. 42, Op. 45, and
43
Hill, Schoenbergs Tone-rows and the Tonal System
of the Future, 27-8.
44
Ernest Krenek, Studies in Counterpoint: Based on the
Twelve-Tone Technique (New York: G. Schirmer, Inc., 1940),
vii.
24
based on the degree of the tension, and introduces how to
45
Ernest Krenek, Studies in Counterpoint: Based on the
Twelve-Tone Technique (New York: G. Schirmer, Inc., 1940).
46
Ibid., 20.
25
Krenek presents a symmetrical arrangement of the
47
Ibid., 34.
26
Krenek shows the same diagram in his book as Rochberg did
2.2.
1) C-C#-D-D#-E-F F#-G-G#-A-A#-B
2) C-D-D#-E-F-G F#-G#-A-A#-B-C#
3) C-D-E-F-G-A F#-G#-A#-B-C#-D#
4) C-C#-D-F#-G-G# D#-E-F-A-A#-B
5) C-C#-E-F-G#-A D-D#-F#-G-A#-B
6) C-D-E-F#-G#-A# C#-D#-F-G-A-B
48
Babbitt, 57.
27
Babbitt mentions that the first three sets are termed
fifth set and the sixth set are called the third and the
49
Ibid., 58.
50
Straus, Introduction to Post-tonal Theory, 204.
28
Therefore, Babbitt introduces an idea of serialism that
51
Allen Forte, The Structure of Atonal Music (New
Haven: Yale University Press, 2nd edition, 1977), 179-181.
52
George Perle, Serial Composition and Atonality: an
Introduction to the Music of Schoenberg, Berg, and Webern
(Berkeley: University of California Press, 1962), 107.
29
1 zero-note "chord" 1 twelve-note chord
1 one-note "chord" 1 eleven-note chord
6 two-note chords 6 ten-note chords
12 three-note chords 12 nine-note chords
29 four-note chords 29 eight-note chords
38 five-note chords 38 seven-note chords
50 six-note chords
53
Ibid., 110.
54
George Perle, George Rochberg. The Hexachord and
its Relation to the 12-tone Row, Journal of the American
Musicological Society 10/1 (Spring 1957), 55.
30
own thinking about the hexachordal construction of the 12-
Phantasy for Violin and Piano, Op. 47, String Quartet No.
4, Op. 37, and Piano Concerto, Op. 42, and explains his
31
notes, which are the basic principles to create what he
three observations:
55
George Rochberg, The Hexachord and Its Relation to
the Twelve-Tone Row (Bryn Mawr, PA: Theodore Presser,
1956), 2.
32
1. The I occurs at the enharmonic fourth
above the O (could be fifth below without
changing character of I) and produces six new
notes.
2. O (a) and I (b) contain identical tones
but express them in different order.
3. I (a) and O (b) contain identical tones
also expressing them in different order.56
by a mirror form.
56
Ibid., 2.
33
concept of Schonbergs inversional combinatoriality in that
O (b) and I (a) have different orderings but share the same
57
Forte, 179-81.
34
the original, which is somehow related to Hill, so he tries
in Example 2.6.
58
Ibid., 5.
35
Example 2.6. Melodic arrangement of hexachordal
groups.59
Example 2.7.60
59
Ibid., 5.
60
Ibid., 6.
36
Rochberg refers to these chromatic series as chromatic
61
Ibid., pp. 6-8.
37
inversion and this is the method that composers used who
62
Ibid., 17.
63
Ibid., 13-14.
38
shows the classification of intervals created by the number
of semitones.
Classification of Semitone
Traditional Interval Classification
unison (or prime) 0 (zero)
minor second 1
major second 2
minor third 3
major third 4
perfect(?) fourth 5
augmented fourth 6
diminished fifth 6
perfect fifth 7
augmented fifth 8
minor sixth 8
major sixth 9
minor seventh 10
major seventh 11
octave 12
64
Ibid., p. 23.
39
one.65 This concept of interval is the same as ordered
current understanding.
65
Ibid., p. 24.
66
George Perle, Review: The Hexachord and Its
Relation to the 12-Tone Row, Journal of the American
Musicological Society 10/1 (Spring 1957), 55.
67
Richard Hill, Review: Composition with Twelve Notes
Related Only One Another by Josef Rufer, The Hexachord and
Its Relation to the 12-Tone Row by George Rochberg, Notes
12/2 (Mar 1955), 224-25.
40
Rochberg specifically focused on mirror inversion and
music.69
68
David Alan Lawrence, A Conductors Study of George
Rochbergs Three Psalm Settings, 19.
69
George Rochberg, vii.
41
referred to the an unpublished article in his Some Aspects
structure.70
70
Rochberg, Harmonic Tendency of The Hexachord, 209.
42
derives a lot of its strength; because the
harmonic relationships in the Second Symphony
are right out of the interlocking world of
the hexachords and how they multiply.71
71
Dufallo, Trackings: Composers Speak with Richard
Dufallo, 67.
72
Ibid., 68.
43
I examined the relationship between all Z-related
44
duplication, C, C#, D, D#, E, G and B, Bb, A, G#, F#, F.
series.
46
CHAPTER 3
3. 1 Compositional background
this composition:
73
Dixon, Ibid., 182.
47
This piece is short in duration, performed in eleven
Rochberg did not create titles for the music, but his
48
As shown in Figure 3.1, Rochberg indicated the
Rochberg had already sketched the idea for the piece three
49
The Second Symphony is based on a single twelve-
tone row which is symmetrical; for example, the
row is divided into two groups of six (or
hexachords), the second group being a
rearrangement of the mirror inversion of the
first group. . . .This provides ample opportunity
for continually new melodic formations as well as
a harmonic structure existing between row and
mirror (or mirrors). This also means that it is
not always necessary to use the entire 12-tone
row in its original form. It is also possible to
achieve all the 12 notes by combining, for
example, the first group of 6 of the original
with the corresponding group of one of the
mirrors; or the second group of the original with
the corresponding group of the mirror. Although
the basic pitch material is completely determined
in advance, in no way does this hinder the free
activity of the imagination.74
74
Dixon, Ibid., 156.
75
Joseph Straus, Introduction to Post-Tonal Theory (3rd
edition, Prentice Hall: New Jersey, 2005), 227.
50
a developmental theme (theme H), which will be examined
later.
51
3. 2 The structure of 12-tone series
76
I label the series in a fixed-do system (C is
always 0).
52
interval classes than the first hexachord. The ic content
the second five pitches are all consonant ics except for
the last ic 1.
2
1 6 4 6 1 6 4 4 3 5 1
3
1
0
53
Example 3.2 shows all possible contiguous trichordal
not familiar.
are three 3-5 (016)s and one 3-12 (048). Set class 3-5
composers.
54
IF#C#
RICH
IF#A
IF#F
C# D Ab C F# F F# F B E A Bb
T4 T4
set class 3-5 (016) from the first trichord to the last
3.3, they create the set class 3-12 (048). That is, the
55
ic relationship with the third discrete trichord 3-12
(048).
transformation.77
77
David Lewin, Generalized Musical Intervals and
Transformations (New Haven: Yale University Press, 1987),
180-81. Lewin proposes that RICH-transformation is
retrograde-inverted form of the previous elements
overlapping two pitches or pitch-classes. For example, if
s= C-F#-F, then RICH (s) is F#-F-B.
56
In Example 3.3, when the series is divided into three
backwards.
57
As we discussed in Chapter 2, Z-related hexachords
notes between the two hexachords, but they are not related
mirror inversion.
58
When they are rearranged from major seventh to major
not invertible.
59
is, if we locate 12 pitches in pitch space, we do not hear
this row is not the same as in the Bagatelles, but the row
discussed in Figure 3. 2.
60
4 5 3 5 4 1 4 1 5 1 4
(015), 3-3 (014), and 3-3 (014). The first two trichords,
F
set classes 3-4 (015) are related at I F# and the second two
Eb
trichords, set classes 3-3 (014) are related at I E (See
Figure 3.5). The series also contains 3-11 (037), 3-3, and
11.
61
IF#F IEbE
A F Bb Db F# D D# B C G G# E
62
IAbA
IF#G
A F Bb Db RICH Bb Db F# D D# B C G RICH C G G# E
of the row. The first two and the last two tetrachords are
the end of the row. This set class plays an important role
composition.
63
Rochberg uses in the symphony also create 4-19 (0148), A-E-
C-G#.78
78
Dixon, Current Chronicle, 233.
79
Straus, 149.
64
hexachord is transposed at T2, T6, or T10, and is also
ways.
example shows that the last two pitch-classes and the first
80
Straus, 149.
65
overlapped and they are all inversionally related. Thus,
66
(a)
(b)
67
tone series is based on his idea of mirror inversion.
68
three ways, so it is possible to make the three inversions
I1 I2 I8 I0 I6 I5 I11 I3 I7 I4 I9 I10
P1 C# D Ab C F# F B Eb G E A Bb
P0 C C# G B F E Bb D F# Eb Ab A
P6 F# G C# F B Bb E Ab C A D Eb
P2 D Eb A C# G F# C E Ab F Bb B
b b # # b
P8 A A E G C C F B D B E F
P9 A Bb E Ab D C# G B Eb C F F#
P3 Eb E Bb D Ab G C# F A F# B C
P11 B C F# Bb E Eb A C# F D G Ab
P7 G Ab D F# C B F A C# Bb Eb E
b b b # #
P10 B B F A E D A C E C F G
P5 F F# C E Bb A Eb G B Ab C# D
b b # b
P4 E F B E A A D F B G C C#
69
Rochberg does not use as many different series as
70
Example 3.13. Dallapiccolas 12-tone series in
Quaderno Musicale di Annalibera.
of each series.
72
T3
P1 C# D Ab C F# F B Eb G E A Bb
I8 Ab G C# A Eb E Bb F# D F C B
4-9 (0167) 4-9 (0167) 4-1 (0123)
T6
Even though Rochberg does not ever use the two series
The first two dyads between them create the set class 4-9
made between the two series, the set class 4-7 (0145) is
tetrachords are all set classes 4-1 (0123), and they are
73
Example 3.15. Overlapping of two series in Bagatelle
No. 10, mm. 4-5.
Used by permission of Carl Fischer, LLC.
overlaps the last two notes of RI8 with the first two notes
74
Example 3.16. Reordering of the series in Bagatelle
No. 7, mm. 11-12.
Used by permission of Carl Fischer, LLC.
75
hexachord in P9 is rearranged to be mirrored with the first
I9 I5 I10 I1 I6 I2 I3 I11 I0 I7 I8 I4
P9 A F Bb Db F# D D# B C G G# E
P1 C# A D F Bb Gb G Eb E B C Ab
P8 G# E A C F Db D Bb B F# G Eb
P5 F Db Gb A D Bb B G Ab Eb E C
b b # b b
P0 C A D E A F F D E B B G
P4 E C F Ab Db A Bb Gb G D Eb B
b b # #
P3 E B E G C A A F F C D Bb
P7 G Eb Ab B E C C# A Bb F F# D
# b b b
P6 F D G B E B C A A E F Db
P11 B G C Eb Ab E F Db D A Bb Gb
P10 Bb F# B D G Eb E C C# G# A F
b b b b #
P2 D B E G B G A E F C C A
76
In addition, this matrix shows how many hexachords are
of RI10 and the second one of P1 is the same as the first one
same as the second one of RI0, and so forth. That is, there
in this piece.
77
chapter, the influence of tradition on his compositional
78
CHAPTER 4
79
4.1. Form
4.1.
retrograde, and in No. 9 and No. 10, two series are related
80
by a retrograde-inversion. In No. 10, Rochberg presents
Continued
81
Figure 4.1 Continued
82
As shown in Figure 4.2, the total number of row
Total
Bagatelles Series (No. of row statements) No.
No. 1 P1 (8) 8
No. 2 I8 (8) 8
No. 3 P1(6), I8 (5) 11
No. 4 R1 (8) 8
No. 5 RI8 (13) 13
No. 6 R1 (7), RI8 (6) 13
No. 7 P1 (5), R1 (5) 10
No. 8 RI8 (4), I8 (4) 8
No. 9 R1 (8), I8 (5) 13
No. 10 RI8 (5), P1 (4) 9
No. 11 P1 (4), I8 (4), R1 (4), RI8 (4) 16
No. 12 P1 (4), I8 (6), R1 (6), RI8 (5) 21
Total P1 (31), I8 (32), R1 (38), RI8 (37) 138
83
last three measures, he used one row each for one or two
five groups, and the movements within each group are played
84
the pause and non-pause between movements should be
itself.
81
George Rochberg, Zodiac for Orchestra (Theodore
Presser Company: Bryn Mawr, Pensylvania, 1974), 4.
85
Proceed to No. II without
I ca.1'30'' pause
Proceed to No. III without
GROUP A
II ca 30'' pause
Pause ca. 8 seconds before
III ca 35'' proceeding to No. IV
Proceed to No. V without
IV ca 40'' pause
Proceed to No. VI without
GROUP B
V ca 1'55'' pause
Pause ca. 5 seconds before
VI ca 50'' proceeding to No. VII
Proceed to No. VIII without
VII ca 1'45'' pause
Proceed to No. IX without
GROUP C
VIII ca 30'' pause
Pause ca. 3-4 seconds before
IX ca 2'10'' proceeding to No. X
Proceed to No. XI without
X ca 1'15'' pause
GROUP D
Pause ca. 3 seconds before
XI ca 55'' proceeding to No. XII
GROUP E XII ca 120''
82
Ibid., 4.
86
Use of
Mvt Section Measure Subsection Measures
Series
Introductory
Introduction mm. 1-4 mm. 1-4 P9
Theme
Theme A mm. 4-18 P9
Theme B mm. 17-33 I4
Theme A mm. 32-45 P9
Theme A and
mm. 45-61 P9, I4
B
Theme C mm. 62-66 I8
P9, R9,
mm. 4- Theme D mm. 67-76
Exposition I0
122
Theme E mm. 76-87 R9, I8
Theme D' mm. 88-89 P5
Theme F mm. 90-94 RI8, R9
Theme G mm. 94-103 R5
Theme C' and P1, RI2,
I mm. 104-116
D' I8, RI8
Theme C mm. 117-122 I8
Theme H mm. 123-140 P4
Theme A' P4, R4,
mm. 141-154
(frag.) RI11H1
RI7, R4,
mm. 123- Theme F' mm. 155-166
Development R8, RI3
205 R8, I7,
Theme E' mm. 167-184
R10
Theme H' mm. 185-202
Transition mm. 202-205
Intro. and
mm. 206-221 P9, I4
Theme B
Recapitulatio mm. 206- Theme A and
n 255 mm. 221-249 P9, I4
B
Transition mm. 249-255 I10
Continued
87
Figure 4.4 Continued
3-note
Theme I mm. 256-276 (015)
motive
Theme J mm. 277-295
mm. 256- 3-note
A
362 Theme K mm. 296-335 (015)
motive
Transition mm. 336-347
Tetra
Theme L mm. 348-362
chords
Theme M mm. 363-369 I11
Theme N mm. 369-379
Theme M and
mm. 380-383 P0
O
Theme M,
mm. 363- mm. 384-387 P4
B O', and P
416 Theme M and
II mm. 388-393
P
Theme N' mm. 394-397
Theme M' mm. 398-404 I7
Transition mm. 405-416
3-note
Theme I mm. 417-437 (015)
motive
Theme J mm. 438-454
3-note
mm. 417- Theme K mm. 455-494 (015)
A
572 motive
Transition mm. 495-506 P4
Theme L mm. 507-528
Coda mm. 529-559
Transition mm. 560-572
Continued
88
Figure 4.4 Continued
90
section restates the beginning of the work with a fantasia-
like mood.83
83
Dixon, George Rochberg: A Bio-Bibliographic Guide to
His Life and Works, 155.
84
Ibid., 156.
91
composing a melodic line. Even though his Bagatelles are
will be utilized.
92
the piece, four times with different contours. It is not
phrase.
93
As shown in Example 4.2, the melody presents
tetrachords extracted from RI8, P1, I8, and R1. He puts set
classes 4-7 (0145) in the top line, and the rest of 12-tone
series and the other two pitches are selected from the
and seventh and eight pitches in R1 and RI8). Since the 12-
the third tetrachords come from the first two pitches of RI8
and I8, and the other dyad Eb-E is located in the middle of
those series.
94
tetrachords in this example come from P1 and R1 that are
related at IFF#.
RICH RICH
B C Eb E Eb E G Ab C# D F F# F F# A Bb
4.5).
95
Example 4.3. Tetrachordal transformations of the
melody in Bagatelles No. 11, mm. 1-8.
Used by permission of Carl Fischer, LLC.
96
T1 T11 T1 T11
B C E Eb C# D F# F
T5 T5
Ab G Eb E Bb A F Gb
T7 = IT5
T7
97
melodic line of trichord; however, the specific arrangement
sequential.
98
Example 4.5 illustrates the transformations that are
set classes 4-24 (0248) are related at T11. The set classes
class 3-12 (048). Thus, the set class 3-12 (048), which is
relationship at IAb .
Eb This section does not follow the
99
exact 12-tone series; instead, it shows the motivic
transformations of trichords.
T4 T4 T4
C E E G# Ab C
T4 T4
100
Figure 4.7 illustrates the transformation graph of
theme G. The first two notes of each set class 3-3 (014)
the larger melodic lines which outlines the set class 3-12
(048).
T10 and T8, and then presents the set classes 3-3 (014)
series.
101
Example 4.7. Trichordal transformations
in Symphony No. 2 in mm. 100-103.
Used by permission of Carl Fischer, LLC.
102
Example 4.8. Rhythmic variations in Bagatelle No. 12.
Used by permission of Carl Fischer, LLC.
103
Example 4.9. Two voice-exchanges
in Bagatelle No. 12, m. 1.
Bagatelle No. 1.
104
Example 4.10. Beginning of Bagatelle No. 1, mm. 1-4.
Used by permission of Carl Fischer, LLC.
Even though the two pieces share the same contour and
105
a performer is speaking declamatorily.85 In the third
sound.
85
Dixon, The Twelve Bagatelles and Sonata-Fantasia of
George Rochberg: A Performers Analysis, 44.
86
Ibid., 58.
106
4.2.3 Contour segments (C-seg)
Rochbergs music.
107
it is played with C# at the same time. Instead, C3
108
Example 4.14. Short duration of CSEGs
in Bagatelle No. 1, mm. 14-16.
109
In Bagatelle No. 8, the recurring section also starts
110
one trichord; however, it does not sound monotonous because
111
The first two phrases share the same CSEG <3201>, and
the third phrase has the CSEG <045231>. I will call CSEG
<3201>.
contour.
112
Example 4.18. Various figures based on the contour
<3201>.
Used by permission of Carl Fischer, LLC.
is extended.
113
Example 4.19. Overlapping of the Contour A.
114
Example 4.20. Sequence of contour A in Theme L,
mm. 348-58.
Used by permission of Carl Fischer, LLC.
these are the only contours that one can make with three
subsegs.
115
< 3 2 0 1 > Contour A
< 2 1 0 > C-subseg A1
< 2 0 1 > C-subseg A2
C-subseg P, RI <210>
A1 I, R <012>
P <201
C-subseg I <021>
A2 R <102>
RI <120>
87
I put the order numbers of the repeating pitches
below the notes with parenthesis.
116
As shown in Example 4.21, theme A, the first theme of
this melody, we see that it starts with the Cseg PA: <3201>
and the repeated set class 3-4s are made up of the C-subseg
117
combination of the original row and its mirror inversion as
119
second movement, Rochberg constructs the theme with a short
different instruments.
120
In composing each theme, Rochberg selects some
121
which have thick textures. Along with the change of the
seven measures. The first three notes and the last three
122
phrase. Thus, the themes C and D show opposite contour
different timbres.
123
Example 4.29. Klangfarbenmelodie in Theme E
Used by permission of Carl Fischer, LLC.
124
indicates the serial line with dotted lines, so the
gesture.
125
4.2.4 Quotation
88
Jeffrey Shumway, A Comparative Study of
Representative Bagatelles for the Piano Since Beethoven,
(DMA diss., Indiana University, 1981), 76.
126
Example 4.31. Ending motive in Bagatelle No. 6,
mm. 25-31.
Used by permission of Carl Fischer, LLC.
melody, and the use of the series (one series per one unit)
127
Example 4.32. Schoenbergs Op. 25, No. 3, mm. 20-25.
4.2.5 Centricity
128
Example 4.33. Centricity in Section B
in Bagatelle No. 12, mm. 5-8.
Used by permission of Carl Fischer, LLC.
129
Example 4.34. Centricity in Bagatelle No. 9,
mm.1-4 and mm. 18-20.
Used by permission of Carl Fischer, LLC.
4. 3 Rhythm
rhythmic patterns.
130
Rhythmic Pattern 1
Rhythmic Pattern 2
131
because he wants to show another set class 3-5 (016), D-Eb-
Ab.
progression.
Rochberg gives the music a more active mood with the sense
compositions.
Example 4.37.
132
Example 4.36. Bagatelle No. 4, mm. 1-34.
Used by permission of Carl Fischer, LLC.
134
on the example, we can determine the division into five
phrases.
135
sixteenth notes and an eighth note, shown on Example 4.39.
rhythmic patterns.
136
Rochberg utilizes the alternating of two rhythmic
4. 4 Harmony
89
Dixon., 35.
137
Example 4.40 shows the Viennese quartal chords
sonorities.
use set class 4-9 (0167) for the final sonority. The three
138
Example 4.41. Viennese quartal chord in the
ending part of Bagatelle No. 1,
mm. 17-18.
Used by permission of Carl Fischer, LLC.
4.42).
139
Example 4.42. Ending part of Bagatelle No. 9, m. 24.
Used by permission of Carl Fischer, LLC.
the set class 3-5 (016) show wide spacing over the octave.
140
Example 4.43. Wide spacing of set class 3-5
in Bagatelle No. 5, m. 12.
Used by permission of Carl Fischer, LLC.
141
Example 4.44. Vertical sonorities in Symphony No. 2.
augmented triad, set class 3-12. Except for the set class
series.
three trumpets and trombones 1 and 2 play the set class 3-4
three trombones exhibit the set class 3-3 (014) and set
143
the basic vertical sonority of this work, set class 4-19
(0148).
sonorities, set class 3-3 (014) and set class 3-4 (015).
rhythmic division.
144
Example 4.47. Vertical sonority in mm. 76-81.
145
Example 4.48. Vertical sonority of theme H,
mm. 123-127.
Used by permission of Carl Fischer, LLC.
146
Example 4.49. Two mirror forms in mm. 123-127
through the set class 4-23 (0257) in the middle (See Figure
4.9).
T6
m. 123 m. 127
F Ab A C B D D# F#
147
This theme is rhythmically changed from m. 184 as
m. 123.
148
Example 4.50. Rhythmically reduced theme H
in mirror form, mm. 184-87.
Used by permission of Carl Fischer, LLC.
149
Example 4.51. Rhythmic variation of theme H.
Used by permission of Carl Fischer, LLC.
150
transpositions of theme H also show a RICH transformation
T7 T9
F Ab A C C Eb E G A C C# E
RICH
4.5 Texture/Articulation
notes, and the texture gets thicker for the dramatic sound.
151
basic melodic idea until the end of section A. The general
times.
152
Example 4.52. Increasing attacks in No. 5.
Used by permission of Carl Fischer, LLC.
all other row forms, the set classes 3-5 (016) are
153
the piece finally arrives at the hexachord, 6-Z17 (012478).
into set class 3-5 (016) in the upper three voices and set
in Example 4.55.
155
series. Thus, the unity of this rhythmic pattern gives a
played by strings except for the double bass and two horns,
156
and brass instruments, supported by accompaniment of
157
Figure 4.11. Texture in each theme, mm. 1-122.
158
In Twelve Bagatelles for Piano, the basic 12-tone
159
Rochbergs Symphony No. 2 is composed of many themes,
160
is a generator for the building blocks of the work rather
161
CHAPTER 5
CONCLUSION
162
5. 1 The position of George Rochberg in the history of
163
more easily recognize the structure of hexachords that
164
predictable phrasing. In general, the structure of the
the traditional first theme and the second theme that are
165
Rochberg develops the contours of subsets, and does not
compositional techniques.
166
order to present a more traditional sound, he chose a
series.
167
market.90 Therefore, the current public wants to listen to
other.
90
Susan McClary, Terminal Prestige: The Case of
Avant-Garde Music Composition, Cultural Critique 12
(Spring 1989).
168
Appendix: Permission to reprint in a dissertation
169
Bibliography
170
the Works of Peter Maxwell Davies and George
Rochberg. M.M. Thesis: Northern Illinois University,
1978.
171
McClary, Susan. Terminal Prestige: The Case of Avant-Garde
Music Composition. Cultural Critique 12 (Spring
1989): 57-81.
172
Straus, Joseph N. The Myth of Serial Tyranny in the
1950s and 1960s. The Musical Quarterly 83/3 (Autumn
1999).
Electronic Sources
Scores
173