Anton Webern is among the most important composer and music theorists of 20th-century music called as avant-garde. In the first stage of this study the ‘serial music understanding’ to which Anton Webern has contributed significantly in terms of theory and composition is presented in the context of the general situation of 20th century music. In the later stages, the component-complement connection of the composer's works and the simplicity principle, which is considered to be one of the most important building blocks of the music style, are discussed. In this process while making theoretical determinations through selected works of the composer, sensory and intellectual impressions in his works have been disclosed. In this way, it is expect...
It is the purpose of this study to examine four of Webern's pre-opus 1 works, noting in particular t...
The appropriation of historical techniques and formal models in a modernist context presents numerou...
Anton Webern’s Op. 18 stands at nearly the exact center of his published work. Though it was in his ...
textAnalytical treatments of Anton Webern’s compositions between 1910 and 1925 fail to provide a “r...
As a consequence of the elevation of Anton Webern as the figurehead of atonality and a precursor to ...
In this study, the Anton Webern's music is considered in two groups: that which was written before W...
Die Symphonie op. 21 kann als erstes vollentwickeltes Werk in Anton Weberns Zwölfton-Œuvre angesehen...
This paper was presented at the Arts Symposium of the 14th Conference of the International Institute...
From the time of his composition of Op. 23 (1933-34) until his death, Anton Webern composed a series...
Anton Webern's assumption and assimilation of Arnold Schoenberg's "method of composin...
235 p.Thesis (D.Mus.A.)--University of Illinois at Urbana-Champaign, 1963.U of I OnlyRestricted to t...
La réception de la musique d’Anton Webern dans les cercles avant-gardistes de Darmsta...
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 2017Tez (Yüksek Lisans...
In der Sekundärliteratur werden als Bezugspunkte für Valentin Silvestrovs (geb. 1937) Zwölftonmusik ...
International audienceTranslated into English, but not into French or Italian, the writings of Carl ...
It is the purpose of this study to examine four of Webern's pre-opus 1 works, noting in particular t...
The appropriation of historical techniques and formal models in a modernist context presents numerou...
Anton Webern’s Op. 18 stands at nearly the exact center of his published work. Though it was in his ...
textAnalytical treatments of Anton Webern’s compositions between 1910 and 1925 fail to provide a “r...
As a consequence of the elevation of Anton Webern as the figurehead of atonality and a precursor to ...
In this study, the Anton Webern's music is considered in two groups: that which was written before W...
Die Symphonie op. 21 kann als erstes vollentwickeltes Werk in Anton Weberns Zwölfton-Œuvre angesehen...
This paper was presented at the Arts Symposium of the 14th Conference of the International Institute...
From the time of his composition of Op. 23 (1933-34) until his death, Anton Webern composed a series...
Anton Webern's assumption and assimilation of Arnold Schoenberg's "method of composin...
235 p.Thesis (D.Mus.A.)--University of Illinois at Urbana-Champaign, 1963.U of I OnlyRestricted to t...
La réception de la musique d’Anton Webern dans les cercles avant-gardistes de Darmsta...
Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 2017Tez (Yüksek Lisans...
In der Sekundärliteratur werden als Bezugspunkte für Valentin Silvestrovs (geb. 1937) Zwölftonmusik ...
International audienceTranslated into English, but not into French or Italian, the writings of Carl ...
It is the purpose of this study to examine four of Webern's pre-opus 1 works, noting in particular t...
The appropriation of historical techniques and formal models in a modernist context presents numerou...
Anton Webern’s Op. 18 stands at nearly the exact center of his published work. Though it was in his ...