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Quarterly.
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By ERNST KRENEK
THE TITLE
210
METHOD
Anton Webern and Olivier Messiaen were mentionedas the best-
knowngeneratorsof the new way of serial thinking,the formerbecause
of the extraordinary impacthis workhas exercisedduringthe last twenty
yearsor so, the latterabove all throughhis experimentswith "rhythmic
rows" (or "modes") and his immediateinfluenceon such composersas
Boulez and Stockhausen.The discussionthen turnedto the significance
and consequenceof the gradual expansionof the musical area that was
subjected to premeditatedorganization.It was recognized that serial
orderingof the factorof time (i.e. premeditatedfixationof points of
entranceand durationof the individual musical elements) caused fun-
damental changesin thestructure, and mean-
appearance, perceptibility,
ing of music. Thereforethe largerpart of the investigationwas devoted
to the methodsof organizingseriallythe parameterof time.The discourse
was mainlybased on myown workin the serialstylebecause myintimate
knowledge of this work allowed succinct presentationof the relevant
details, whereas the few available analyses of other composers' serial
worksare frequentlyambiguousand far fromenlightening.
Ex. I --:--?---?-------
Each of its two constituentsix-tone groups is progressivelymodified
by making the firsttone the last:
Ex. 2
W-bL=-----I--
IBPLLf_~i=i~
g~I). i ~ 0 1'
4e~-~-,i-.reL
v
'7
Kasscl.
3 B~ienreiter-VVerlag,
Ex.
3 4 5 6 7 8 9 12
I 2 3 4 5 6 7 8 9 0II 12
I 3 2 5 4 7 6 9 8 II 10 12
3 5 2 7 4 9 6 II 8 Z 0o
3 5 7 Z 9 4 II 6 12 8 10
O I R RI
1
8
6
_ 12
10
4 ....._ __
4
10
12
6
8
2
1
8
........ . ..
8
6
12
10
4
4 ...
10
....1 2
6
8
..
2 22
7
5
1i
9
3
3
etc.
I 8 3 10 6 5 12 2 II 4 9 7
OJ~
~- "---
I 3 8 6 10 12 5 II 2 9 4 7
)C . .
_b ..
3 I 6 8 12 I0 II 5 9 2 7 4
3 6 I 12 8 11 10 9 5 7 2 4
I 2 3 4 5 6 7 8 9 0 II 12
If we transposethe tone row, for instance,a major third higher,the
originalorderof the tones is changed into:
Ex. 8
5 6 8 9 12 10 4 II 7 2 3 I
Ex. 9
Five more seriesare derivedby makingthe consecutivetonesof the first
series points of departurefor new series identicallybuilt (a procedure
somewhatreminiscentof my Lamentatio rotation):
800 333 417 260 625 500
1000 417 521 325 781 625
625 260 325 203 488 390
1500 625 781 488 1170 937
1200 500 625 390 937 750
8Universal Edition, Vienna. Recorded by the Deutsche Grammophon Gesell-
schaft.
STechnische Hausmitteilungen des Nordwestdeutschen Rundfunks, Vol. VI,
No. 1/2, Cologne, 1954, Item 10, p. 46 ff.
In myoratorioforvoicesand electronicsounds,Spiritusintelligentiae,
sanctus,"thereis a sectionwithoutvoices (so to speak an "instrumental"
interlude). The material of this sectionis a temperedscale of thirteen
tones.From the continuumof thisscale, groupsof toneswere selectedto
form alternatinglydisjunct and conjunct heptachords of equal and
symmetrical structure(see leftside of Diagram 1). A seven-tonepattern
(seven-tonerow) meanders throughthis systemof pitches constantly
retainingits principleof progress: from any tone on which it startsit
goes up to the thirdand fourth,thenback to the second, up to the sixth,
back to the fifth,and it stops on the seventhtone of the networkof
pitches.Since the patternalwaysprogressesconjunctly(which means that
the firsttone of its next appearance is identicalwith the last of the pre-
ceding) while the pitch systemis based on the alternationof conjunct
and disjunctshapes, the internalintervallicconfiguration of the pattern
is always different, although its general outline remains the same (see
rightside of Diagram 1). Afterthirteenappearances the patternlands
again on the tone fromwhich it started,and the "rotation"has come to
an end.
The interludein question may technicallybe called a double canon.
One of the two elementssubject to imitationis a tone-lineconsistingof
the chain of the thirteenpossiblevariantsof the seven-tonepatternjust
described,the otheris an analogous line presentingthe chain of the in-
verted formsof the pattern.The firsttone-lineis so designed that it
begins on the centraltone of the entiregamut (330 cycles), risesto its
highestlevel (4754 c) in the firstthirdof itslength,returnsto the center
in the second third,and descends to the lowest level (26 c) in its last
portion.The second line beginson the lowestpointwhen the firstreaches
its apex, risesto crossthe firstline whereit passes on its descentthe cen-
tral tone, goes up to its own high point which it reaches approximately
when the firstline ends, and returnsto the center.
11Recorded by the Deutsche Grammophon Gesellschaft (LP 16134 Hi-Fi).
Diagram1
Read frombottomup
Heavy linesindicateoctaves
Chain of
disjunctand
conjunct Progressof the
heptachords seven-tonepattern
a" Fc
F
II
IB
lie
, t
I
I
I
I
I
c
I
L'ne End
, . L
a
M&re- I ? | ? s
? ? , _
6 4 4 3 5 4 z 2 (1)
The thirdline is:
Ex. 12
S 4 2 44 I 3 I 4 6 4
and so forth.The tones are always placed so that theywill not exceed
the ambitusof the originalrow and the intervals(indicatedby the num-
bersbelow the staff) are so measuredup or down that theirmagnitudes
will not exceed the figure6. Obviouslythe sequence of these intervallic
magnitudesconstantlychanges as a resultof the rotationof the tones
prescribedby the sestina pattern,but these changes are of a different
order.
durations,then, are 16/14, 12/14, and 24/14, or 8/7, 6/7, 2/7, and
12/7 of the basic value.
II
_-
_-
,-= ,
?~ ~ 1,-
: i ,Gu.
B~ 6
10
?~,L
irr
A later serial work of mine is a set of six piano pieces, called Sechs
Vermessene.This German title is a play on words, since vermessenin
German means "completelymeasured" as well as "presuming,"a pun
that cannot be reproduced in English. While the time mechanism is
similarto that of the Sestina, the constructiondiffersfromit in that for
the firstthree pieces a systemof fivelayersis set up in which the first
has "density 1" (i.e. one tone at a time), the next has two tones
together,the third three,the fourthfour, and the fifthsix tones. The
time measurementsforthe variouslayersare a resultof summingup the
intervalmagnitudesinvolved in the consecutivetone combinations.For
example, the tone seriesof this compositionbeing:
. .... _ 1_ _ , .. ,