Twelve-Tone Technique and Its Forms: Variation Techniques of Arnold Schoenberg's "Variations for Orchestra Op. 31" / Dvanaesttonska tehnika i njezine forme: varijacijske tehnike u Varijacijama za orkestar op. 31 Arnolda Schönberga

This paper explores the possibilities of articulating a traditional form, such as a theme and variations, in the twelve-tone technique, as a characteristic determinant of the New Music. It is impossible to give a straightforward explanation of the twelve-tone technique. Each and every twelve-tone co...

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Bibliographic Details
Published in:International review of the aesthetics and sociology of music 2007-06, Vol.38 (1), p.39-53
Main Author: Zovko, Marija Benić
Format: Article
Language:English
Subjects:
Counterpoint
Developing variation
Melody
Motifs
Motivic development
Musical forms
Musical motives
Original Scientific Papers / Izvorni Znanstveni Članci
Passacaglia
Serial music
Tone of voice
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Summary:This paper explores the possibilities of articulating a traditional form, such as a theme and variations, in the twelve-tone technique, as a characteristic determinant of the New Music. It is impossible to give a straightforward explanation of the twelve-tone technique. Each and every twelve-tone composition has to confirm the musical nature of its material and technique all over again. In his Variations op. 31 Schoenberg used dodecaphony in a specific way. It is a new instance of proving the extent to which dodecaphony can articulate a highly traditional form. The form itself does not guarantee that the material will acquire the quality of the art of music. The form is just a challenge to justify the musical meaning of the material from the process of its articulation. Analysis of different elements of structure and their relationships reveals numerous instances that confirm the richness of technique and variational devices available in dodecaphony. At the same time, it also indicates the technique's limitations and weaknesses in Schoenberg's composing theory. That casts doubts on Schoenberg's claim that a structure can become meaningful only by the logic of its "coherence" which is the condition of its "comprehensibility". /// Nemoguće je jednoznačno odgovoriti na pitanje što je to dvanaesttonska tehnika. U svakoj skladbi ona pokazuje novo značenje. Podrazumijeva skladanje ispočetka u kojem se uvijek iznova potvrduje glazbenost materijala i dvanaesttonske tehnike. Varijacije op. 31 Arnoida Schönberga na poseban način problematiziraju dodekafoniju. Analizom te skladbe otkriva se i tumači kako u jednom djelu zajedno mogu egzistirati dvanaesttonska tehnika kao tipična odrednica Nove glazbe i tradicionalna forma kao što je tema s varijacijama. Ta tradicionalna forma nije jamac glazbenosti materijala. Ona je tek izazov da se njezinim artikuliranjem iz dvanaesttonske tehnike opravda glazbenost materijala. Analiza Schönbergova Op. 31 usredotočuje se na istraživanje i interpretiranje različitih elemenata skladbe. To su značenje teme u svakoj od devet varijacija, u Introdukciji i u Finalu skladbe, različiti formalni modeli na čijoj je pozadini skladatelj ostvario formu skladbe, raznolikost dvanaesttonskih postupaka, razvojno variranje i kontrapunkt. Analiza dokazuje kako tema nije jedini impuls iz kojega se može artikulirati tako kompleksna i opsežna skladba te razotkriva nemoć teme i nemoć dvanaesttonske tehnike da to ostvare. To se osobito pokazuje u Finalu, gd
ISSN:0351-5796
1848-6924