Melodic Contour and Rhythm as Organizing Principles in ...

Melodic Contour and Rhythm as Organizing Principles in Schoenberg’s Wind Quintet, Op. 26

by

Taylor Carmona, BM, MM

A Dissertation

In

Fine Arts – Music Theory

Submitted to the Graduate Faculty of Texas Tech University in

Partial Fulfillment of The Requirements for

The Degree of

DOCTOR OF PHILOSOPHY

Approved

Matthew Santa, Ph.D. Chair of Committee

David Forrest, Ph.D.

Peter Martens, Ph.D.

David Sears, Ph.D.

Bill Gelber, Ph.D.

Mark Sheridan, Ph.D. Dean of the Graduate School

May 2022

Texas Tech University, Taylor Carmona, May 2022

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ACKNOWLEDGMENTS

It is my privilege to thank the many people who have helped me on the journey of

writing this dissertation and completing my Ph.D. First, I would like to thank Dr.

Matthew Santa for his patience and diligence while working though revisions with me, as

well as being a sounding board while I fleshed out this topic. Next, I would like to thank

the music theory faculty here at Texas Tech, because what I learned in their classes

directly informed my work on this dissertation. I had my first experience with contour

theory in Dr. David Forrest’s Pop Music Analysis class, in which I analyzed melodic

contour in rap music. I learned about how the human mind processes and organizes sound

and music in Dr. David Sears’s Music and the Mind class, which informed my

segmentation of the music into motivic units in this dissertation. In Dr. Marten’s co-

taught Art Histories class, I was introduced to the Epic Theatre of Bertolt Brecht, which

inspired me to re-examine Schoenberg’s twelve-tone music from new angles. Finally, in

Dr. John Boyle’s Twentieth Century Music class I analyzed the melodic contour in the

third movement of Schoenberg’s Wind Quintet, Op. 26 as my final paper and his

enthusiasm and insightful feedback inspired me to develop the paper into my dissertation

topic.

Other acknowledgments include my undergraduate and master’s degree

professors, Danny Vaughan, Dr. Michael T. Geib, and Dr. Hali Fieldman, who saw

promise in me when I didn’t always see promise in myself. Without their mentorship and

guidance, I would not be the musician, scholar, and person I am today. I also have to

thank my family, who have unconditionally supported me though the ups and downs of

graduate school and have always provided a safe haven to recharge and be myself. Last


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but not least, I would like to thank my husband who has supported me from the very

beginning even though pursuing this degree required me to live in a different state than

him.


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TABLE OF CONTENTS

ACKNOWLEDGMENTS.......................................................................................ii ABTRACT...............................................................................................................v I. INTRODUCTION................................................................................................1 II. LITERATURE REVIEW....................................................................................5 Introduction........................................................................................................5 Row Analysis.....................................................................................................5 Form...................................................................................................................7 Harmony.............................................................................................................8 Evolution of Style...............................................................................................9 Other Topics.....................................................................................................10 III. METHODOLOGY...........................................................................................12 IV. FIRST MOVEMENT ANALYSIS..................................................................24 Conclusion........................................................................................................59 V. SECOND MOVEMENT ANALYSIS..............................................................61 Conclusion......................................................................................................106 VI. THIRD MOVEMENT ANALYSIS...............................................................109 Conclusion......................................................................................................148 VII. FOURTH MOVEMENT ANALYSIS..........................................................151 Conclusion......................................................................................................241 VIII. CONLUSION..............................................................................................246 BIBIOGRAPHY...................................................................................................255 APPENDIX A.......................................................................................................261


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ABSTRACT Many scholars have analyzed the role of melodic contour as an organizing

principle in atonal music; however, its role as an organizing principle in twelve-tone

music has not been as widely researched. In this dissertation, I will argue that analysis of

melodic contour and rhythm reveals elements of motivic development and coherence in

Schoenberg’s twelve-tone music. I will focus my analysis on Schoenberg’s Wind Quintet

and what contour analysis can add to the twelve-tone analysis of it in Boss (2014). I will

utilize both Michael Friedmann’s concepts of the Contour Adjacency Series and the

Contour Class and Robert Morris’s Contour Reduction Algorithm to identify and

compare melodic contour motives. The resulting analysis will serve to demonstrate how

the integration of contour analysis and traditional twelve-tone analysis can provide

insights greater than those revealed by applying either approach independently.


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CHAPTER ONE

INTRODUCTION

In “My Evolution,” Schoenberg argues when stylistic changes occur in the arts

there is a tendency to “overemphasize the difference between the new and the old.”1

Although scholars have analyzed Schoenberg’s use of tonal forms and contrapuntal

techniques, most Schoenberg scholarship investigates the aspects of his twelve-tone

method that differ from tonal compositional techniques. By Schoenberg’s own account,

his twelve-tone rows were designed to be used with “the same themes, melodies, sounds,

and rhythms as you used before.”2 In this dissertation I aim to discover what the

integration of tonal developmental techniques and traditional twelve-tone developmental

techniques can uncover in Schoenberg’s twelve-tone music.

In his book, Fundamentals of Musical Composition, Schoenberg states that the

“chief requirements for the creation of a comprehensible form are logic and coherence.

The presentation, development and interconnexion of ideas must be based on

relationship.”3 He further argues that every phrase contains motives and that overall

construction of the piece relies on the development of motives.4 He defines a motive as

“intervals and rhythms, combined to produce a memorable shape or contour which

usually implies inherent harmony.”5 Although Schoenberg wrote this book to describe

tonal music conventions, these principles can hold true for music written in his twelve

1 Arnold Schoenberg, “My Evolution,” in Style and Idea, ed. Leonard Stein (Berkley and Los Angeles: University of California Press, 1984), 87-8. 2 Arnold Schoenberg, “’Schoenberg’s Tone-Rows,’” in Style and Idea, ed. Leonard Stein (Berkley and Los Angeles: University of California Press, 1984), 213. 3 Arnold Schoenberg, Fundamentals of Musical Composition (New York: St. Martin’s Press), 1. 4 Ibid. 8. 5 Ibid.


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tone method as well. In this dissertation, I analyze motivic development in Schoenberg’s

Wind Quintet, Op. 26 through the lens of set theory and contour theory to examine how

Schoenberg’s observations about motivic coherence in tonal music can be applied to his

twelve-tone Wind Quintet.

The musical characteristics I explore as possible agents for motivic development

are based on Schoenberg’s theory of the methods by which coherence can be achieved, as

shown in Example 1.1.6 Two of these methods—succession of tones in the form of pitch

intervals and harmony—are affected by his replacement of the tonal system. In his article

“Tonality,” Brian Hyer argues that the tonal system had “become the principle musical

means in Western culture by which to manage expectation and structure desire.”7

Schoenberg’s removal of the hierarchical relationships that harmony and pitch intervals

had within the tonal system weakened the ability for those methods to cohere musical

ideas. The other five musical content methods through which musical ideas can cohere

are largely unaffected by Schoenberg’s transition to the twelve-tone method. This could

be due in part to Schoenberg believing these methods would provide enough stability for

him to move away from tonal pitch relations. The methods I investigate in this

dissertation are the succession of tones in the form of melodic contour, rhythm, and all

four musical processes in Ex. 1.1.

6 Arnold Schoenberg, Coherence, Counterpoint, Instrumentation, Instruction in Form, ed. Severine Neff, Trans. Severine Neff and Charlotte Cross (Lincoln: University of Nebraska Press, 1993), 63. 7 Brian Hyer, “Tonality,” in Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002), 728.


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Example 1.1. Schoenberg’s Chart of the Methods through which Musical Ideas Can Cohere.

Many scholars have analyzed the role of melodic contour as an organizing

principle in atonal music; however, its role as an organizing principle in twelve-tone

music has not been as widely researched.8 In this dissertation, I argue that the analysis of

melodic contour and rhythm reveals elements of motivic development and coherence

rarely studied in Schoenberg’s twelve-tone music. I focus my attention on Schoenberg’s

Wind Quintet and on what contour analysis can add to its twelve-tone analyses.9 This

dissertation demonstrates how the integration of contour analysis and traditional twelve-

tone analysis can provide insights greater than those revealed by applying either approach

independently. Although each movement of the Wind Quintet features a unique

presentation of thematic material and form, the methods of motivic development used are

8 Michael Friedmann, “A Methodology for the Discussion of Contour: Its Application to Schoenberg’s Music,” Journal of Music Theory 29, no. 2 (1985): 223-267.; Stephen Harper, “Contour and Melodic Structure in Two Homophonic Instrumentals Works by Anton Webern,” College Music Symposium 46 (2006): 105-122.; Robert. Schultz, “Melodic Contour and Nonretrogradable Structure in Birdsong of Olivier Messiaen,” Music Theory Spectrum 30 no. 1 (2008): 89-137.; Joshua Banks Mailman, “Schoenberg’s Chordal Experimentalism Revealed Through Representational Hierarchy Association (RHA), Contour Motives, and Binary State Switching,” Music Theory Spectrum 37, no. 2 (Fall 2015): 224-252.9 Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge: Cambridge University Press, 2014).; Langdon Corson, Arnold Schoenberg’s Woodwind Quintet, Op. 26: Background and Analysis (Nashville: Gasparo Company, 1984).


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the same. Coherence between sections is created through a network of pitch, pitch-class,

contour, and duration space relationships that relate restatements of thematic material

both to its original presentation and to its imitative development. Of the four available

musical characteristics examined in this dissertation — pitch, pitch-class, melodic

contour, or rhythm— one or more are kept similar in each restatement while the others

are varied. In the following chapters, I situate the analysis of melodic and rhythmic

contour within current Schoenberg and twelve-tone research, I detail the analytical tools I

use and my observations from applying those tools to Schoenberg’s Op. 26, and I

consider how the integration of contour analysis and traditional twelve-tone analysis can

impact the way scholars approach Schoenberg’s twelve-tone music.


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CHAPTER TWO

LITERATURE REVIEW

Introduction

Many scholars have analyzed how Schoenberg crafts various aspects of his

twelve-tone compositions. Some scholars focus on the large-scale organization of his

twelve-tone compositions, while others focus on how he manipulates the row to create

melodic and harmonic material. The prevalent areas of focus for scholars researching

Schoenberg are row analysis, form, harmony, and the evolution of his style. This chapter

will consider each of these areas in turn.

Row Analysis

Jack Boss’s twelve-tone row analysis of the third movement of Schoenberg’s

Wind Quintet serves as the formal foundation for my own analysis of it in this

dissertation.10 He argues that Schoenberg’s exploitation of the collectional invariances

between P3 and P9, as well as between P3 and I2 shape the form of this piece and that

each large section of the piece coincides with a different stage in the development of the

parent row. John Maxwell also analyzes the manipulation of the twelve-tone row in the

third movement of Schoenberg’s Wind Quintet.11 He observes that each hexachord in

Schoenberg’s parent row includes a whole-tone pentachord and that Schoenberg exploits

this pattern in the way that he overlaps row forms.

10 Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge: Cambridge University Press, 2014), 122-179. 11 John Maxwell, “Symmetrical Partitioning of the Row in Schoenberg’s Wind Quintet, Op. 26,”Indiana Theory Review 5, no. 2 (1982): 1-15.


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Although my dissertation focuses on the Wind Quintet, it is important to explore

how scholars have engaged with Schoenberg’s other twelve-tone pieces. Other

Schoenberg pieces in which the twelve-tone rows have been analyzed include

Klavierstücke, Op. 33,12 Violin Concerto, Op. 36,13 String Quartet no. 4, Op. 37,14 Piano

Concerto Op. 42.15 String Trio, Op. 45,16 Violin Fantasy, Op. 47,17 and Moses and

Aron.18 In addition to analyzing the row forms used in Schoenberg’s twelve-tone pieces

scholars have also researched specific compositional techniques. In several of his works,

Ethan Haimo argues that developing variation is a key component to Schoenberg’s serial

compositional methods.19 Haimo explains that Schoenberg generates his serial melodies

motivically and in later sections of the music often recycles motives from earlier in the

piece. In his article, “Inversional Balance as an Organizing Force in Schoenberg’s Music

and Thought,” David Lewin argues that Schoenberg utilizes inversional balance as a

12 Eric Graebner, “An Analysis of Schoenberg’s Klavierstück , Op. 33a,” Perspectives of New Music 12, no. 1-2 (Fall 1973 – Summer 1974): 128-40.; Kathryn Bailey, “Row Anomalies in Opus 33: An Insight into Schoenberg’s Understanding of the Serial Procedure,” Current Musicology 22 (1976): 42-60.; Brian Alegant, “Unveiling Schoenberg’s op. 33b,” Music Theory Spectrum 18, no. 2 (Fall 1996): 143-166.; Davis S. Lefkowitz, “Perspectives on Order, Disorder, Combinatoriality and Tonality in Schoenberg’s Opus 33a and 33b Piano Pieces,” Intégral 11 (1997): 67-134. 13 Brian Alegant and Andrew Mead, “Having the Last Word: Schoenberg and the Ultimate Cadenza,” Music Theory Spectrum 34, no. 2 (Fall 2012): 107-136. 14 Ethan Haimo and Paul Johnson. “Isomorphic Partitioning and Schoenberg’s Fourth String Quartet,” Journal of Music Theory 28, no. 1 (1984): 47-72. 15 Brian Alegant, “Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music,” Music Theory Spectrum 23, no. 1 (Spring 2001): 1-40. Alegant and Mead, “Having the Last Word.” 16 John M. Peel “On Some Celebrated Measures of the Schoenberg String Trio,” Perspectives of New Music 14, no. 2 – 15, no. 1 (Spring – Summer/Fall – Winter 1976): 260-79. 17 David Lewin, “A Study of Hexachord Levels in Schoenberg’s Violin Fantasy,” Perspectives of New Music 6, no. 1 (Fall – Winter 1967): 18-32. 18 David Lewin, “Moses und Aron: Some General Remarks, and Analytic Notes for Act I, Scene 1,” Perspectives of New Music 6, no. 1 (Fall – Winter 1967): 1-17. 19 Ethan Haimo, “Developing Variation and Schoenberg’s Serial Music,” Music Analysis 16, no. 3 (Oct. 1997): 349-365; Ethan Haimo, Schoenberg’s Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914-1928 (Oxford: Clarendon Press, 1990); Ethan Haimo, Schoenberg’s Transformation of Musical Language (New York: Cambridge University Press, 2006).


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substitute for changes in tonal center.20 According to Lewin, inverting a twelve-tone row

creates axes which exhibit a gravitational pull similar to the pull of a tonal center.

Another compositional method discussed by scholars is the role of symmetry in

Schoenberg’s twelve-tone music. Stephen Peles argues that Schoenberg’s tendency

toward symmetrical segmentation21 of the row into hexachords, tetrachords, and trichords

brings balance to the whole piece.22 In his article, “Contextual Invariance and

Schoenberg’s Hexatonic Webs,” Joe Argentino explores the invariant relationship

between row forms that cannot be described with standard row transformation symbols.23

Form

Schoenberg’s construction of large-scale form within his twelve-tone method has

been analyzed by many scholars. In his article, “Large-Scale Strategy in Arnold

Schoenberg’s Twelve-Tone Music,” Andrew Mead argues that Schoenberg’s twelve-tone

music is written with a “richness of strategic complexity,” and that his “strategies are

weaved into a single complex entity.”24 In this article Mead analyzes the third movement

of Schoenberg’s Wind Quintet and the first movement of the Violin Concerto. He argues

that each section of the third movement of the Wind Quintet is demarcated by its own

organization strategy and that the coda section features a merging of these organization

strategies. Mead also analyzed how Schoenberg conveyed large-scale form in the first

20 David Lewin, “Inversional Balance as an Organizing Force in Schoenberg’s Music and Thought,” Perspectives of New Music 6, no. 2 (Spring – Summer 1968): 1-21. 21 Symmetrical Segmentation partitions the row into hexachords, tetrachords, or trichords that can be used to create symmetry over the inversion and retrograde axes. 22 Stephen Peles, “‘Ist Alles Eins’: Schoenberg and Symmetry,” Music Theory Spectrum 26, no. 1 (Spring 2004): 57-85. 23 Joe Argentino, “Contextual Invariance and Schoenberg’s Hexatonic Webs,” Music Theory Spectrum 41, no. 1 (Spring 2019): 104-125. 24 Andrew Mead, “Large-Scale Strategy in Arnold Schoenberg’s Twelve-Tone Music,” Perspectives of New Music 24, no. 1 (Fall – Winter 1985): 131.


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and fourth movement of the Wind Quintet.25 He argued that the twelve-tone method

contains the ability to convey large-scale form through mosaic polyphony. Martha Hyde

has also analyzed Schoenberg’s creation of form in the third movement of his Wind

Quintet. Hyde has published several articles and books about the development of form,

harmony, and meter in Schoenberg’s twelve-tone music.26 In her article, “The Roots of

Form in Schoenberg’s Sketches,” she argues that Schoenberg’s main method of

conveying form within the twelve-tone method is through harmony.27 Hyde argues that

“secondary dimensions of harmonic structure” play a significant role in the delineation of

phrases.28 Other twelve-tone pieces of Schoenberg’s in which the large-scale form has be

analyzed include Five Piano Pieces, Op. 23,29 Suite for Piano, Op. 25,30 String Trio, Op.

45.31

Harmony

Very few scholars have focused on the vertical aspects of Schoenberg’s twelve-

tone music. In his article, “Schoenberg’s Fourth String Quartet: Vertical Order of the

Opening,” Godfrey Winham analyzes the vertical order of the opening twelve chords of

25 Andrew Mead, “‘Tonal’ Forms in Arnold Schoenberg’s Twelve-Tone Music,” Music Theory Spectrum 9 (1987): 67-92. 26 Hyde, Martha, “A Theory of Twelve-Tone Meter,” Music Theory Spectrum 6, no. 1 (Spring 1984): 14-51; “Musical Form and the Development of Schoenberg’s Twelve-Tone Method,” Journal of Music Theory 29, no. 1 (Spring 1985): 85-143; Schoenberg’s Twelve-Tone Harmony: The Suite Op. 29 and the Compositional Sketches (Ann Arbor, Mich.: UMI Research Press, 1982); “The Roots of Form in Schoenberg’s Sketches,” Journal of Music Theory 24, no.1 (Spring 1980): 1-36. 27 Hyde, “The Roots of Form in Schoenberg’s Sketches.” 28 Ibid. 13. 29 Hyde, “Musical Form and the Development of Schoenberg’s Twelve-Tone Method.” 30 Richard Kurth, “Mosaic Polyphony: Formal Balance, Imbalance and Phrase Formation in the Prelude of Schoenberg’s Suite, Op. 25,” Music Theory Spectrum 14, no. 2 (Fall 1992): 188-208. 31 Whittall, Arnold. “Schoenberg and the ‘True Tradition’: Theme and Form in the String Trio,” Musical Times 115, no. 1579 (Sept. 1974): 739-43.


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the Fourth String Quartet.32 He argues that the difficulty in analyzing this passage results

from Schoenberg delineating the order outside of the natural segmenting of hexachords.

Martha Hyde analyzes the harmonic aspects of Schoenberg’s Suite, Op. 29 in her book

Schoenberg’s Twelve-Tone Harmony: The Suite Op. 29 and the Compositional

Sketches.33

Evolution of Style

Another area of focus for scholars researching Schoenberg is tracking the

development of his twelve-tone method. In his article “The Idiom and Development in

Schoenberg’s Quartets,” Peter Gradenwitz tracks the development of Schoenberg’s style

through analysis of his four string quartets.34 Gradenwitz discusses the development of

Schoenberg composing within a unifying idea and the development of his twelve-tone

method. Ethan Haimo also tracks the evolution of Schoenberg’s twelve-tone method, but

he does not constrain himself to the string quartets.35 Haimo centers his analysis from the

transitional period to Schoenberg’s mature style (1914-1928). Silvina Milstein attempts

to reassess how Schoenberg is analyzed in her book Arnold Schoenberg: Notes, Sets,

Forms.36 She tries to bridge the gap between the scholars who prioritize historical

continuity and those who prioritize row form analysis.

32 Godfrey Winham, “Schoenberg’s Fourth String Quartet: Vertical Order of the Opening,” Theory and Practice 17 (1992): 59-65. 33 Martha Hyde, Schoenberg’s Twelve-Tone Harmony: The Suite Op. 29 and the Compositional Sketches. Ann Arbor, Mich.: UMI Research Press, 1982. 34 Peter Gradenwitz, “The Idiom and Development in Schoenberg’s Quartets,” Music and Letters 26 (1945): 123-42. 35 Ethan Haimo, Schoenberg’s Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914-1928. Oxford: Clarendon Press, 1990. 36 Silvina Milstein, Arnold Schoenberg: Notes, Sets, Forms . Cambridge University Press, 1992.


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Other Topics

Other areas of focus for scholars researching Schoenberg include the

programmatic elements, the presentation of the musical idea, and the analysis of meter in

his twelve-tone works. In his book Programmatic Elements in the Works of Schoenberg,

Walter Bailey argues that the extramusical elements function as an important

compositional tool in pieces of Schoenberg’s that are often praised for the intricacies of

set class and row manipulations.37 A few scholars have analyzed the presentation of the

musical idea in Schoenberg’s twelve-tone pieces. Boss discusses how to define the

musical idea in Schoenberg’s twelve-tone music and analyzes the first movement of the

Wind Quintet.38 Other scholars that have analyzed the presentation of the musical idea in

Schoenberg’s twelve-tone pieces including Patricia Carpenter, Severine Neff and John

Covach.39

A few scholars have focused their research on the meter or melodic contour in

Schoenberg’s twelve-tone pieces. In her article, “A Theory of Twelve-Tone Meter,”

Martha Hyde argues that Schoenberg developed a method to metrically organize rhythm

within his twelve-tone method.40 She argues that Schoenberg uses two harmonic

dimensions to recreate the metric structure of tonal conventions. In his article, “A

37 Walter Bailey, Programmatic Elements in the Works of Schoenberg. Ann Arbor: UMI Research Press, 1984. 38 Jack Boss, “The ‘Musical Idea’ and Global Coherence in Schoenberg’s Atonal and Serial Music,” Intégral 14/15 (2000 – 01): 209-64. 39 Patricia Carpenter and Severine Neff, “ Schoenberg’s Philosophy of Composition: Thoughts on the ‘Musical Idea and its Presentation,’” in Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture, edited by Juliane Brand and Christopher Hailey, 147-55. Berkeley: University of California Press, 1997.; John Covach, “ Schoenberg’s ‘Poetics of Music,’ the Twelve-Tone Method, and the Musical Idea,” in Schoenberg and Words: The Modernist Years, edited by Charlotte M. Cross and Russell A. Berman, 309-46. New York: Garland, 2000. 40 Martha Hyde, “A Theory of Twelve-Tone Meter,” Music Theory Spectrum 6, no. 1 (Spring 1984): 14-51.


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Methodology for the Discussion of Contour: Its Application to Schoenberg’s Music,”

Michael Friedman develops a set of tools to describe melodic contour segments

(Friedman 1985).41 He applies these tools to analyze Schoenberg’s use of contour in his

Phantasy for Violin and Piano Op. 47 and argues that Schoenberg’s use of contour is at

times independent from his row transformations.

41 Michael Friedmann, “A Methodology for the Discussion of Contour: Its Application to Schoenberg’s Music,” Journal of Music Theory 29, no. 2 (1985): 223-267.


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CHAPTER THREE

METHODOLOGY

I will analyze the pitch and rhythmic contours in each movement of Schoenberg’s

Wind Quintet and investigate what that analysis can add to the twelve-tone analyses of

the same piece by Jack Boss and Langdon Corson.42 The application of this methodology

reveals the following: 1) melodic contours and rhythms associated with themes are

treated independently from the treatment of the twelve-tone rows used to compose their

initial presentation, 2) coherence between sections is created through a network of pitch,

pitch-class, contour, and durational relationships that relates the original presentation of

thematic material to its restatement and development, and 3) two types of development

can be found throughout this piece, 1) development for the sake of ornamentation; and 2)

development for the sake of generating new material.

I have based my analytical techniques on the work of Michael Friedmann,

Elizabeth West Marvin, Paul Laprade, and Robert Morris, with consideration of

refinements to that work made by Robert Schultz and Daniel Wu.43 In Compositions with

Pitch Classes: A Theory of Compositional Design, Morris outlines a numerical system for

describing melodic contour he calls Contours.44 Contours is a numerical method of

describing contour where the lowest note in the melodic segment is 0 and the highest is n-

42 Jack Boss, Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea (Cambridge: Cambridge University Press, 2014), 122-179; John Maxwell, “Symmetrical Partitioning of the Row in Schoenberg’s Wind Quintet, Op. 26,” Indiana Theory Review 5, no. 2 (1982): 1-15. 43 Michael Friedmann, “A Methodology for the Discussion of Contour,” 223-267.; Robert Morris, “New Directions in Theory and Analysis of Musical Contour,” Music Theory Spectrum 15, no. 2 (Autumn, 1993): 205-228.; Schultz, “Melodic Contour and Nonretrogradable Structure,” 89-137.; Daniel Yi-Cheng Wu, “An Extension of the Minimally Divergent Contour Network: Considering Nonconsecutive Repeated Contour Pitches,” Music Theory Spectrum 41,no. 2 (2019): 341-362. 44Robert Morris, Composition with Pitch Classes: A Theory of Compositional Design (New Haven: Yale University Press, 1987), 27.


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1. This method describes the relationship each pitch has to the others in the melodic

segment. Elizabeth West Marvin and Paul Laprade use the term Contour Segments

(csegs) in place of Morris’s Contours.45 Michael Friedman uses the same labeling system

but renames it Contour Class.46 Throughout this dissertation I will use the term cseg for

numerically labeled melodic contour segments. Friedman also introduces a directional

system for describing melodic contour called Contour Adjacency Series (CAS). CAS

describes the direction of each intervallic motion in a melodic segment using “+” for

ascending motion and “-” for descending motion. To illustrate, Examples 3.1-3.2 provide

a cseg and CAS analysis of music from Schoenberg’s Wind Quintet. Although cseg and

CAS relationships overlap in many cases, the inclusion of CAS analysis casts a wider net

that captures contour relationships not shown by cseg analysis alone.

Example 3.1. Cseg Analysis of Schoenberg’s Wind Quintet, III, Bassoon Part, mm. 1-7.

45 Elizabeth West Marvin and Paul A. Laprade, “Relating Musical Contours: Extensions of a Theory for Contour,” Journal of Music Theory 31, no. 2 (Autumn 1987): 228. 46 Michael Friedmann, “A Methodology for the Discussion of Contour,” 223-267.


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Example 3.2. CAS Analysis of Schoenberg’s Wind Quintet, III, Bassoon Part, mm. 1-7.

For rhythmic contour analysis I will base my analytical techniques on Elizabeth

West Marvin’s Duration Segment (dseg).47 Dseg is a numerical system to describe

ordered sets of durations where the shortest duration in a segment is 0 and the longest

duration is n-1. Throughout this dissertation I will use square brackets to distinguish

dsegs from csegs. Dseg analysis describes the relationship between rhythmic segments

even if they do not share the exact same note values or proportional relationships. To

illustrate, Example 3.3 provides a dseg analysis of music from Schoenberg’s Wind

Quintet. In this system, rests are not included in the size of the duration.

Example 3.3. Dseg Analysis of Schoenberg’s Wind Quintet, III, Bassoon part mm. 1-7.

47 Elizabeth West Marvin, “The Perception of Rhythm in Non-Tonal Music: Rhythmic Contours in the Music of Edgard Varèse,” Music Theory Spectrum 13, no. 1 (Spring 1991): 65.


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Due to Schoenberg’s frequent breaking of longer note values into several shorter

note values throughout this piece, I will define another equivalence class that measures

the interonset interval between each new pitch in the segment, as shown in Example 3.4.

In this system, I will regard repeated pitches as an articulation of a single longer note

value that is the sum of those repeated notes. I will call this equivalence class an

interonset interval segment (IOIseg) and will use curly brackets to distinguish it from

dsegs. By comparing Ex. 3.3 and 3.4, one can see that IOIsegs illustrate different

rhythmic relationships between the cells in this passage than those illustrated by dsegs.

The IOIseg analysis in Example 3.4 highlights the similarity between the first, second,

third, and second-to-last rhythmic motives, even though they do not contain the exact

same rhythms. It also shows the similarity between the fourth and last rhythmic motives

even though the sum of the three middle notes in the fourth motive is a dotted half note

and the second note in the last motive is a half note. While an IOIseg analysis highlights

the similarities between the previous motives, it also obscures the rhythmic similarities

between the fifth motive {100} and the first two rhythmic motives {000}. Figure 3.5

illustrates the type of enclosures I use to distinguish the various labeling systems used in

this dissertation.

Example 3.4. IOIseg Analysis of Schoenberg’s Wind Quintet, III, Bassoon part mm. 1-7.


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Labeling System Type of enclosure

cseg and CAS ( ) dseg [ ] IOI { } Ordered Pitch/Pitch-Class Intervals

< >

Figure 3.5. Chart of Enclosures.

In “New Directions in the Theory and Analysis of Musical Contour,” Robert

Morris defines cseg classes as families of csegs that are transformationally equivalent by

retrograde, inversion, or retrograde inversion. Only six csegs exist that consist of three

pitches. These six are broken into two cseg classes, as shown in Example 3.6. The

problem with applying contour analysis to discrete successions of smaller csegs is the

high probability of relation between them.48 For example, if the first cseg is a member of

class 3-2, the second would have a 66.7% chance of being related to the first if chosen at

random. For this reason, I will focus my analysis on the combination of melodic contour

relationships and rhythmic contour relationships between csegs rather than simply their

equivalency based on membership to a cseg class.49

48 An additional limitation to applying concrete contour theory methods as a whole is the fact that they are inherently similarity finding measures and can overemphasize the similarities between segments. 49 Another approach to melodic contour analysis is Ian Quinn’s fuzzy approach. This approach seeks to determine the relationship between melodic contours that are deemed unrelated via concrete contour theory approaches like Morris’s cseg and Friedmann’s CAS. Schoenberg’s use of melodic contour motives in this piece responds well to being analyzed by the equivalence classes proposed by Morris and Friedmann, however, and so I will utilize a concrete rather than fuzzy approach to contour in this dissertation. (See Ian Quinn, “Fuzzy Extensions to the Theory of Contour,” Music Theory Spectrum 19, no. 2 (1997): 232-263 and “Listening to Similarity Relations,” Perspectives of New Music 39, no. 2 (2001): 108-58)


17

Example 3.6. Six Csegs of Cardinality 3; Two Cseg Classes.50

Another important tool introduced by Morris is the Contour-Reduction

Algorithm: it allows the analyst a consistent way of comparing sets of different

cardinalities by reducing the larger to match the size of the smaller. I will use the revised

version of that algorithm given as Example 3.7.51 This algorithm “prunes pitches of a

contour until no more can be deleted.”52 The contour motive undergoes several stages of

pruning in which the local maxima (high points) and minima (low points) are kept intact

while the rest of the pitches are pruned. A pitch is a local maximum if it is higher than the

pitches that immediately precede and follow it. A pitch is a local minimum if it is lower

than the pitches that immediately precede or follow it. The first and last pitches of a

contour are both maxima and minima by definition. The first two steps of his algorithm

require one to stem all pitches that are in the local maxima (up stems) or minima (down

stems). The third step sends you to the end of the algorithm if all pitches are stemmed.

The fourth and fifth steps require the deletion of un-stemmed pitches and to increase the

50Robert Morris, “New Directions,” 209.; Seeger (1960) and Adams (1976) also partition melodies into contour types. Adams (1976, 197-198) defines 15 distinct types based on the possible temporal (first and last) and tonal (highest and lowest) boundaries. Seeger 1960 groups melodic contours in to six types and their inversions called moods based on their pattern of ascent and/or descent. 51 Ibid., 212.; Schultz (2008) suggests refinements to Morris’s algorithm to resolve ambiguities inherent in his algorithm. Wu (2019) also suggests refinements to Morris’s algorithm so that it can be applied to contours containing nonconsecutive repeated contour pitches.IhavecreatedacompositealgorithmthatembedsWu’smodificationsintoMorris’salgorithminawaythatallowsitsapplicationtoextendtoawiderarrayofcontourtypes. 52Robert Morris, “New Directions,” 212.


18

depth (N) by 1. The sixth and seventh steps require the elimination of all but one of

possible repeated pitches and the stemming of new maxima and minima within their

respective lists. Step 8 sends you back to step 3 for more pruning if required. Step 9 is

when prime contour is achieved. The prime form of any contour will retain only the first,

last, highest, and lowest pitches in that contour. Example 3.8 illustrates the application of

the composite algorithm to the contour motive in m. 3 of the bassoon part and the oboe’s

second contour motive in m. 40. I will use this algorithm to illustrate relationships

between contour segments of different sizes. Being able to view the same material at

different depths of contour reduction is one of the algorithm’s signature strengths.

Throughout this dissertation I will use the label “Dn,” where n= depth number to describe

the contour motives that have been reduced using the composite contour reduction

algorithm.


19

Definition: Maximum pitch: Given three adjacent pitches in a contour, if the second is higher than or equal to the others it is a maximum. A set of maximum pitches is called a maxima. The first and last pitches of a contour are maxima by definition. Definition: Minimum pitch: Given three adjacent pitches in a contour, if the second is lower than or equal to the others it is a minimum. A set of minimum pitches is called a minima. The first and last pitches of a contour are minima by definition. Algorithm: Given a contour C and a variable N: step 0: Set N to 0. step 1: Stem all maxima in C; call the resulting set the max-list. step 2: Stem all minima in C; call the resulting set the min-list. step 3: Delete all unstemmed pitches in C.; if there were no unstemmed pitches go to step 5. step 4: N is incremented by 1 (i.e., N becomes N+1). step 5: Join all maxima in the max-list with a beam, stems up. For any string of equal and

adjacent maxima in the max-list, either: (1) remove the flags from all cps except for the first one;

or (2) if one pitch in the string is the first or last pitch of C, flag only it; or (3) if both the first and

last pitch of C are in the string, flag (only) both the first and last pitch of C.

step 6: Join all minima in the min-list with a beam, stems down. For any string of equal and

adjacent minima in min-list, either (1) remove the flags from all cps except for the first one; or (2)

if one pitch in the string is the first of last pitch of C, flag only it; or (3) if both the first and last

pitch of C are in the string, flag (only) both the first and last pitch of C.

step 7: If non-stemmed pitches are present, go to step 3. step 8: End. N in the “depth” of the original contour C. The reduced contour is the prime of C; if N=0, then the original C has not been reduced and is a prime itself. Example 3.7. A Working Composite of Morris’s Algorithm and Wu’s Modifications.


20

m. 3 Bassoon Oboe’s Second Contour Motive in m. 40

Example 3.8. Application of the Composite Contour-Reduction Algorithm to m. 3 in the Bassoon Part and to the Second Contour Motive in m. 40 in the Oboe Part.


21

Many scholars have developed algorithms that predict the placement of

segmentation boundaries based on local or expectational discontinuities.53 In this study,

several musical characteristics underpinning these algorithms have influenced my

segmentation of the music into motivic units; including local temporal discontinuities and

motivic parallelism. The temporal discontinuities that influenced my segmentation are

best illustrated by The Generative Theory of Tonal Music’s second grouping preference

rule (GPR). This GPR is broken up into two parts: the slur/rest rule and the attack point

rule, as shown in Example 3.9.

Example 3.9. GPR 2 from the Generative Theory of Tonal Music.54 *In this example the notes inside the brackets are n1-n4.

53 Emilios Cambouropoulos, “The Local Boundary Detection Model (LBDM) and its Application in the Study of Expressive Timing,” in Proceedings of the International Computer Music Conference (San Francisco, CA: ICMA), 17-22.; Emilios Cambouropoulos, “Musical Parallelism and Melodic Segmentation: A Computational Approach,” Music Perception: An Interdisciplinary Journal 23, no. 3 (February 2006): 249-268.; Christopher Hasty, “Segmentation and Process in Post-Tonal Music,” Music Theory Spectrum 3 (Spring 1981): 54-73.; Christopher F. Hasty, “Phrase Formation in Post-Tonal Music,” Journal of Music Theory 28, no. 2 (Autumn, 1984): 167-190.; Fred Lehrdahl and Ray Jackendoff, A Generative Theory of Tonal Music (Cambridge, Mass.: MIT Press, 1983).; Leonard Meyer, “Meaning in Music and Information Theory,” The Journal of Aesthetics and Art Criticism 15, no. 4: 412-424.; Eugene Narmour, The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model (Chicago, IL.: University of Chicago Press, 1990).; Marcus Pearce et al, “Methods for Combining Statistical Models of Music,” in Computer Music Modelling and Retrieval, ed. U.K. Wiil (Heidelberg, Germany: Springer Verlag, 2005): 295-312.; Marcus Pearce et al, “Melodic Grouping in Music Information Retrieval: New Methods and Applications,” in Advances in Music Information Retrieval, eds. Z W Ras and A Wieczorkowska (Berlin: Springer, 2010): 364-388.; Marcus Pearce et al, “The Role of Expectation and Probabilistic Learning in Auditory Boundary Perception: A Model Comparison,” Perception 39 (2010): 1367-1391.; Marcus Pearce et al, “Unsupervised Statistical Learning Underpins Computational, Behavioural, and Neural Manifestations of Musical Expectations,” NeuroImage 50 (2010): 302-313.; David Temperley, The Cognition of Basic Musical Structures (Cambridge, MA.: MIT Press, 2001). 54 Fred Lerdahl, A Generative Theory of Tonal Music, 44.


22

The slur/rest rule states that given four consecutive notes, if the offset to onset

interval between the second and third note is larger than the offset to onset interval

between the first and second notes and the third and the fourth notes, then a group

boundary will most likely be heard in between the second and third note.55 Essentially,

when a slur connects the first two notes and another slur starts on the third note a

performer often adds a small break between the end of one slur and the beginning of

another. This can cause a group boundary to be inferred between the second and third

notes. The attack point rule states that given four consecutive notes, if the interonset

interval between the second and third notes is longer than the interonset interval between

any of the other consecutive notes, then a group boundary will most likely be heard

between the second and third notes.56 The presence of melodic and rhythmic repetition or

sequence also influences my segmentation of the music into motivic segments. Example

3.10 illustrates the influence of local temporal discontinuities and repetition or sequence

in the segmentation of the bassoon part in mm. 1- 7 and the Oboe part in m. 40.

55 Fred Lerdahl, A Generative Theory of Tonal Music, 45. 56 Ibid., 45.


23

Bassoon mm. 1-7

Flute mm. 40-41

Example 3.10. The Influence of GPR2 and Repetition/Sequence in the Segmentation of Bassoon mm. 1-7 and Flute mm. 40-41.


24

CHAPTER FOUR

FIRST MOVEMENT ANALYSIS

In the first movement of the Wind Quintet Op. 26, Schoenberg generates musical

material for the transition and development sections from motives in the primary theme,

secondary theme, and closing theme sections. The motives undergo various melodic and

rhythmic contour transformations including retrograde, inversion, retrograde inversion,

fragmentation, diminution, and augmentation. While Schoenberg utilizes a network of

pitch-class, contour, and duration-space relationships to create coherence in the transition

and development sections, he utilizes an absence of contour and duration-space

relationships to obscure the recapitulation of the primary theme section.

Schoenberg integrates sonata form with his twelve-tone method in this movement

by defining thematic material as much by melodic contour and rhythm as by pitch-class

successions, through his treatment of the thematic material within the development

section, and through his transposition of the secondary theme down a perfect fifth in the

recapitulation. In the development section, Schoenberg systematically restates a motive

from one of the themes, develops it in imitation, and then moves on to another motive.

The motives from the primary, secondary, and closing themes are treated in two different

ways: 1) a contour transformation of a motive is stated and then developed, or 2) either a

pitch transposition or exact repetition of a motive is stated and then developed.

Langdon Corson argues that the large-scale form of this movement is sonata form,

as illustrated in Example 4.1.57 My formal analysis only differs in one way from Corson’s

57 Langdon Corson, Arnold Schoenberg’s Woodwind Quintet, Op. 26: Background and Analysis (Nashville: Gasparo Company, 1984), 64-67.


25

and that is where I take the beginning of the development section, as shown in Example

4.2. Corson’s analysis places the beginning of the development in m. 74, the first measure

after the second ending, and his reading is thus clearly based on the movement’s repeat

scheme. Example 4.3 provides mm. 67-85 of the score. As one can see from the rhythm

in the example, the material in mm. 74-75 is clearly meant to be heard as part of the same

music that began in m. 68. I begin my analysis of the development section in m. 82

instead of m. 74 for three reasons. First, there are no Hauptstimmen marked in mm. 69-

81. Second, m. 82 is marked by a change in tempo and texture, which sets it apart from

the music in mm. 68-81. Third, there is a marked change of material.

Thematic Section Measure Numbers Exposition mm. 1-73b Primary Theme mm. 1-28 Transition mm. 29-41 Secondary Theme mm. 42-54 Closing Theme mm. 55-73b Development mm. 74-127 Recapitulation mm. 128-227 Primary Theme mm. 128-154 Transition mm. 155-167 Secondary Theme mm. 168-180 Closing Theme/ Coda mm. 180-227

Example 4.1. Chart of Langdon Corson’s Formal Analysis of First Movement.


26

Example 4.2. A Revision of Langdon Corson’ Formal Analysis.

Thematic Section Measure Numbers Exposition mm. 1-73b Primary Theme mm. 1-28 Transition mm. 29-41 Secondary Theme mm. 42-54 Closing Theme mm. 55-81 Development mm. 82-127 Recapitulation mm. 128-227 Primary Theme mm. 128-154 Transition mm. 155-167 Secondary Theme mm. 168-180 Closing Theme/ Coda mm. 180-227


27


28

Example 4.3. Measures 67-85 of the First Movement of Wind Quintet, Op. 26.

As shown in Example 4.2, the exposition section in this movement features a

primary, secondary, and closing theme. The primary theme (flute mm. 1-14) is

characterized by five to six-note segments, a jagged contour and the alternation between

long and short durations, and the secondary theme (oboe mm. 42-47) is characterized by

the alternation between jagged and linear contours and the juxtaposition of long durations

and steady quarter notes, as shown in Example 4.4. The neighbor-note figures, the triplet,

and the sixteenth-note group set the closing theme (clarinet mm. 55-57) apart from the

primary and secondary themes (see Ex. 4.4c).


29

a) Primary Theme Flute mm. 1-13

b) Secondary Theme Oboe mm. 42-47

c) Closing Theme Clarinet mm. 55-57

Example 4.4. Comparison of Primary, Secondary, and Closing Themes.

Schoenberg generates musical material for the transition section from primary

theme motives. The first Hauptstimme in the transition (mm. 29-41) is built from primary

theme contour motives in mm. 1-4, as shown in Example 4.5. The clarinet in mm. 29-30

states an inverted transposition of the flute’s row form in mm. 1-4 beginning on the

fourth member of the row form. In this dissertation I follow Jack Boss’s system for

labeling row form rotations where (Tn) represents a row that is rotated n number of

members over from the first row member. In mm. 29-34, a motive built from the flute

part in mm. 1-4 is stated and then developed. The flute part in mm. 1-4 is broken up into


30

two trichords in which the cseg of the second trichord (120) is the retrograde inversion of

the first trichord (021).This RI relationship is highlighted by the fact that the same pitch

interval that ends the first trichord, an ascending second, begins the second trichord. The

clarinet’s first cseg in mm. 29-30, (102), is the pitch inversion of the flute’s second cseg

in mm. 1-4, as shown by the annotations below the staff in Ex. 4.5: the pitch interval

series +2 -13 in the flute s answered by a -2 +13 in the clarinet. The second cseg in mm.

29-30 is the same as the first in those measures, and though the two forms of the motive

do not share any of the same intervals, it is related by pitch-class inversion to the first

trichord in the flute part (note that the corresponding pitch classes sum to 3, mod12, in

each case).

Flute mm. 1-4 Clarinet mm. 29-30

Example 4.5. Cseg Comparison of the Flute in mm. 1-4 and the Clarinet in mm. 29-30.

Examples 4.6 and 4.7 illustrate the development of the Hauptstimme motive in

mm. 29-30 throughout mm. 30-34. Although the oboe Hauptstimme in mm. 30-32 and

the clarinet Hauptstimme in mm. 29-30 state different rotations of the same row form, the

oboe Hauptstimme features the same CAS as the clarinet motive in mm. 29-30, (- + - -


31

+), as shown in Ex. 4.6. This relationship is strengthened by relationships in pitch space:

the first dyad in the oboe cseg is a transposition up a perfect fourth and the last tetrachord

is a transposition up a perfect fifth in relation to the parallel clarinet csegs in mm. 29-30.

The oboe dseg in mm. 30-32, [200314] is closely related to the clarinet dseg in mm 29-

30, [22003111] because they both share the subset [20031], as shown in Ex. 4.7. The first

cseg of the next statement of the Hauptstimme in the clarinet (mm. 32-35) at first appears

to be another repetition of the Clarinet CAS in mm. 29-30; however, after the first three

pitches the melodic contour varies while the dseg mirrors that of the music in mm. 29-30.

The second cseg of the clarinet Hauptstimme in mm. 32-35 features the same CAS as the

first cseg in those measures. The relationship between the two clarinet csegs is reinforced

by the fact that the relatively long repeated Fs and the pair of sixteenths followed by a

long note in the clarinet’s second cseg mirror that of the clarinet’s first cseg. Also, the

pitch motive associated with the pair of sixteenths followed by a long note in the

clarinet’s first cseg is answered in inversion in the second cseg. The rhythm of clarinet

Hauptstimme in mm. 32-35 shares the dseg subset [2003111] with the clarinet

Hauptstimme in mm. 29-30. An overlapping statement of the Hauptstimme in the

bassoon (mm. 32-34) shares an imitative relationship with the clarinet Hauptstimme in

mm. 32-34. They are moving through different transpositions of the same form and are a

sixteenth note away from sharing the same dseg subset (the dseg labeling of the bassoon

part in Ex. 4.7 reflects this relationship by annotating the second duration as “2” when in

fact it is one sixteenth longer than the first value – labeling it this way highlights the fact

that the longest note value in both dsegs is still the same: a dotted quarter). That is if the

second duration in the bassoon part of m. 32, G2, was a sixteenth note shorter, than the


32

bassoon and clarinet Hauptstimme in mm. 32-34 would share the same dseg subset,

[22003111].

Clarinet mm. 29-30

Oboe mm. 30-32

Clarinet mm. 32-35

Example 4.6. CAS Comparison of the Clarinet in mm. 29-30, the Oboe in mm. 30-32, the Clarinet in mm. 32-35, and the Bassoon in mm. 32-34.


33

Clarinet mm. 29-30

Oboe mm. 30-32

Clarinet and Bassoon mm. 32-35

Example 4.7. Dseg Comparison of the Clarinet in mm. 29-30, the Oboe in mm. 30-32 and the Clarinet and Bassoon in mm. 32-35.

The next portion of the transition section (mm. 35-39) is characterized by the

development of two motives from the primary theme: the flute Hauptstimme in mm. 1-4

and the horn Hauptstimme in mm. 27-29. The flute statement of the Hauptstimme in the

transition (mm. 35-36) features the same pitches as the flute Hauptstimme in mm. 1-4, as

shown in Example 4.8. The next Hauptstimme statement in the horn (mm. 36-39) shares

the same CAS as the flute Hauptstimme in mm. 35-36 through its first seven notes, then

shares the same series of pitch classes for its last six notes. The clarinet and oboe


34

statements of the Hauptstimme in the transition (mm. 35-37) share the same CAS as the

horn at the end of the primary theme in mm. 27-28, (- + + + +), as shown in Example 4.9.

The rhythmic contour for the clarinet Hauptstimme in mm. 35-36 is a rhythmic

transformation of the clarinet dseg in mm. 29-30, {2001}, as shown in Example 4.10. The

clarinet dseg in mm. 35-36 features the augmentation of the sixteenth notes in the !"#.

rhythmic pattern from mm. 29-30 to eighth notes, the tying together of the first two

quarter notes of the segment, and the elongating of the last two durations an eighth and

dotted quarter note respectively. The flute, oboe, and horn segments (mm. 35-39) imitate

the clarinet segment in mm. 35-36. All three segments share the same IOIseg as the

clarinet segment that leads the imitation.

Flute mm. 1-4

Flute and Horn mm. 35-39

Example 4.8. Comparison of the Flute in mm. 27-28, and the Flute and Horn in mm. 35-39.


35

Horn mm. 27-29

Clarinet and Oboe 35-37

Example 4.9. CAS Comparison of the Horn in mm. 27-29 and the Clarinet and Oboe in mm. 35-37.


36

Clarinet mm. 29-30

Flute, Oboe, Clarinet, and Horn mm. 35-39

Example 4.10. IOIseg Comparison of the Clarinet in mm. 29-30, and the Clarinet, Flute, Oboe, and Horn in mm. 35-39.

The development section (mm. 82-117) is characterized by the development of

motives from the primary theme in mm. 82-104, the secondary theme in mm. 104-106,

and the closing theme in mm. 107-117. These motives are treated in two different ways:

1) a contour transformation of the motive is stated and then developed, or 2) either a pitch

transposition or exact repetition of the motive is stated and then developed.

The Hauptstimmen in mm. 82-92 of the development section develop the flute

Hauptstimme in mm. 1-2 of the primary theme. The horn Hauptstimme in mm. 82-83

features the literal inversion of the flute pitches in mm. 1-2, as shown in Example 4.11.

The bassoon and both horn Hauptstimme statements in mm. 84-86, shown in Example


37

4.12, are imitative and share the same ordered pitch interval segment as the horn motive

in mm. 82-83, (+8 -2); however, each statement features a truncation of one or more

durational values. The first two statements are pitch transpositions down a perfect fifth

and the third statement is an exact repetition of the horn Hauptstimme in mm. 82-84.

Although the oboe in mm. 84-85 is not marked Hauptstimme, its music contributes to the

imitative texture through contour relations by repeating the same cseg as the bassoon in

mm. 84-85, (021). The clarinet and oboe Hauptstimme in mm. 86-88, shown in Example

4.13, feature the retrograde inversion and retrograde of the horn cseg in mm. 82-83, (102)

(120). The oboe segment and the clarinet’s first segment also feature the retrograde of the

horn dseg in mm. 82-83, [110]. The clarinet Hauptstimme in mm. 88-92 features the

same rhythmic contour and several melodic contour transformations of the clarinet

Hauptstimme in mm. 86-87. The clarinet Hauptstimme in mm. 88-89 appears to share the

same cseg as the clarinet Hauptstimme in mm. 86-87 for the first three pitches, but the

cseg is extend by two pitches. This difference results in a five note composite contour

built from the cseg (102) and its inversion (120).

Flute mm. 1-2 Horn mm. 82-83

Example 4.11. Comparison of the Flute in mm. 1-2 and the Horn in mm. 82-83.


38

Horn mm. 82-83

Bassoon, Oboe, and Horn mm. 84-85 Horn, Clarinet, and Oboe m. 86-88

Clarinet mm. 88-89

Example 4.12. Cseg Comparison of the Horn in mm. 82-83, the Bassoon, Oboe, and Horn in mm. 84-85, the Horn, Clarinet, and Oboe in mm. 85-88, and the Clarinet in mm. 88-89.


39

Horn mm. 82-83

Oboe and Clarinet mm. 86-89

Example 4.13. Dseg and IOIseg Comparison of the Horn in mm. 82-83 and the Oboe and Clarinet in mm. 86-89.

The next statements marked Hauptstimme in the bassoon and horn (mm. 92-93)

develop the second phrase of the primary theme. Those two statements are each a

transposition of the primary theme’s first four pitches in mm. 5-6, as shown in Example

4.14. The oboe Hauptstimme in mm. 93-94 has a completely different cseg, but the

clarinet Hauptstimme in mm. 93-94 features the cseg inversion and is the literal inversion

of the first two ordered pitch intervals in mm. 5-6, -16 +10, as shown in Example 4.15

(the last pitch interval is -13 rather than -14).


40

Flute fragment mm. 5-6

Bassoon and Horn mm. 92-93

Example 4.14. Comparison of the Flute Fragment in mm. 5-6 and the Bassoon and Horn in mm. 92-93.


41

Flute fragment mm. 5-6



Example 4.15. Cseg Comparison of the Flute fragment in mm. 5-6, the Bassoon and Horn in mm. 92-93, and the Oboe and Clarinet mm. 93-94.

All four statements marked Hauptstimme in mm. 92-94 (bassoon, horn, oboe, and

clarinet) feature the same IOIseg, {010}, as shown in Example 4.16. This IOIseg

relationship is reinforced by the similar metric placement of each four-note gesture on the

weak parts of the quadruple subdivision of the beat.


42

Flute mm. 5-6



Example 4.16. IOIseg Comparison of the Flute in mm. 5-6, the Bassoon and Horn in mm. 92-93, and the Oboe and Clarinet in mm. 93-94.

The next Hauptstimme statements in mm. 95-98 develop segments taken from

different places at the beginning of the primary theme. The first segment developed

consists of the F4 in mm. 6-7 through the B♭5 in mm. 7-8, as shown in Example 4.17. The

oboe Hauptstimme in mm. 95-96 shares this same series of pitches but in a different

rhythm. This statement is accompanied by a Hauptstimme statement in the bassoon that is


43

the inversion of the oboe’s statement in pitch space (except for the last interval, which is

a pitch-class space inversion).

Flute mm. 5-11

Oboe and Bassoon mm. 95-96

Clarinet and Horn mm. 96-98

Example 4.17. Comparison of the Flute in mm. 5-11, the Oboe and Bassoon in mm. 95-96, and the Clarinet and Horn in mm. 96-97.

Segment 1 Segment 2


44

The second segment developed consists of the C5 in m. 8 through the E♭6 in m. 9

(see Ex. 4.17). The clarinet Hauptstimme in mm. 96-97 shares the same series of pitch

classes though it transforms the melodic contour of the segment through octave

displacement. The accompanying horn part is the inversion of the clarinet’s statement in

pitch space.

As illustrated in Example 4.18, the oboe and bassoon statements in mm. 95-96

share the IOIseg {02210}. The rhythm of the clarinet Hauptstimme, however, is a

transformation of the rhythmic contour of the oboe Hauptstimme in mm. 95-96. That is if

the second duration, C♯, was shortened by an eighth note and the fourth duration, A, was

extended by an eighth note, then the clarinet and oboe statements would feature the exact

same rhythm. The next statement of the Hauptstimme in the horn mm. 96-98, begins with

the same IOIseg subset, {021}, as the clarinet statement in those measures.

Oboe, Clarinet, Horn, and Bassoon mm. 95-98.

Example 4.18. IOIseg Comparison of the Oboe, Clarinet, Horn, and Bassoon in mm. 95-98.


45

The next statements of the Hauptstimme in mm. 98-99 form an imitative passage

that begins with the end of the horn Hauptstimme in mm. 96-98, as shown in Example

4.19. All of the Hauptstimme statements are exact transformations in pitch space except

for the clarinet Hauptstimme in m. 99, which shares the same cseg and dseg as the horn

and oboe parts in m. 98, (0123) and [0000].

Example 4.19. Comparison of the Oboe, Clarinet, Horn, and Bassoon in mm. 98-99.

The next statements of the Hauptstimme in mm. 100-102 develop the horn motive

from mm. 17-18 and the flute Hauptstimme in mm. 1-4 in the primary theme, as shown in

Example 4.20. The pitch in brackets in Ex. 19 represents a pitch that was pruned out

using the revised contour reduction algorithm. Although the oboe Hauptstimme in m. 100

states the inversion of the horn’s row form in mm. 17-18, the oboe in m. 100 features a

melodic contour transformation of the horn CAS in mm. 17-18. The six-note oboe CAS,

(+ - - + -), is an expanded version of the five-note horn CAS in mm.17-18, (+ - + -).

Using the Revised Contour Reduction Algorithm at a depth of 1, results in the oboe

sharing the same CAS as the horn in mm. 17-18. The rhythm of the oboe Hauptstimme in


46

m. 100 begins the same rhythmically and metrically as the horn Hauptstimme in mm. 17-

18, & #., but is varied afterwards. Although the oboe Hauptstimme in mm. 101-102 states a

rotation of the flute’s row form in mm. 1-4, The oboe in mm. 101-103 features the same

cseg as the flute in mm. 1-4.

Horn mm. 17-18 Oboe m. 100

Flute mm. 1-4 Oboe mm. 101-102

*The brackets in this example represent pitches that are pruned out using the revised contour reduction algorithm. Example 4.20. Comparison of the Horn in mm. 17-18 and the Oboe in m. 100, and the Flute in mm. 27-28 and the Oboe in mm. 101-102.

Although the horn’s first motive in mm. 100-101 states a rotation of the oboe’s

row form in m. 100, the horn’s first motive shares the same CAS and dseg as the oboe

Hauptstimme in m. 100, as shown in Example 4.21 and 4.22. This relationship is

reinforced by the partially ordered pitch interval relationship between the two statements

of the Hauptstimme; only the last pitch intervals in each statement differ. The horn’s


47

second cseg is the retrograde inversion of the previous horn CAS and its dseg is the

inversion of the dseg of the oboe Hauptstimme sounding at the same time.

Oboe m. 100

Horn mm. 100-102

Example 4.21. CAS Comparison of the Oboe in m. 100 and the Horn in mm. 100-102. Oboe m. 100

Horn mm. 100-102

Oboe mm. 101-102

Example 4.22. Dseg Comparison of the Oboe in m. 100, the Horn in mm. 100-102, and the Oboe in mm. 101-102.


48

The next Hauptstimme statements in mm. 104-106 develop the oboe

Hauptstimme at the beginning of the secondary theme in mm. 42-46, as shown in

Example 4.23. The flute Hauptstimme in m. 105 features the same pitch classes as the

oboe Hauptstimme in mm. 42-46, while the bassoon statement in mm. 104-105 sets the

flute part imitatively with a quasi-inversion of that same material. Rhythmically, the flute

and bassoon Hauptstimme are one duration away from sharing the same IOIseg as the

oboe Hauptstimme in mm. 42-46: if the second duration of each statement in mm. 104-

105 was elongated, they would match the IOIseg of the oboe in mm. 42-45, {03210}.

Oboe mm. 42-46

Bassoon and Flute m. 105

Example 4.23. Comparison of the Oboe in mm. 42-46 and the Bassoon and Flute in m.105.


49

The oboe and clarinet statements that immediately follow in mm. 105-107 also

develop material from the secondary theme of the exposition, as shown in Examples 4.24

and 4.25. The clarinet’s first motive in m. 106 states the same row form and CAS as the

flute motive in m. 105, and the oboe motive in m. 106 states a transposed rotation of the

row form and the same CAS as the bassoon in m. 105. Rhythmically, the oboe and

clarinet statements differ from the flute and bassoon statements in mm. 104-105, however

the oboe and clarinet share the same IOIseg {01020}, as shown in Example 4.25.

Bassoon and Flute m. 105

Oboe and Clarinet m. 106

Example 4.24. CAS and Row Comparison of the Bassoon and Flute in m. 105 and the Oboe and Clarinet in m. 106.


50

Bassoon and Flute m.105

Oboe and Clarinet m. 106

Example 4.25. IOIseg Comparison of the Bassoon and Flute in m. 105 and the Oboe and Clarinet in m. 106.

The next Hauptstimme statements in mm. 107-111 develop the clarinet

Hauptstimme in mm. 55-56 of the closing theme section, as shown in Example 4.26. The

horn Hauptstimme in mm. 107-109 is a transposition down a major 7th of the clarinet

Hauptstimme in mm. 55-56 and features almost the exact same rhythm. The horn dseg in

mm. 107-109 features the addition of an eighth note before the triplet figure. The bassoon

Hauptstimme in mm. 109-111 is almost an exact pitch inversion of the horn Hauptstimme

in mm. 107-109 and features the exact same rhythm as the previous horn Hauptstimme.


51

The last bassoon interval in m. 111, <+9>, “overshoots” the last interval in the horn

Hauptstimme by one semitone.

Clarinet mm. 55-56

Horn mm. 107-109

Bassoon mm. 109-111

Example 4.26. Comparison of the Clarinet in mm. 55-56, the Horn in mm. 107-109, and the Bassoon in mm. 109-111.

The final statements marked Hauptstimme in the development section transform a

primary theme horn motive from mm. 18-19, as shown in Example 4.27. The cseg

analysis of the oboe statement in mm. 111-112 reveals its similarity to the horn statement

in mm. 18-19, and while the first half of the statement in mm. 11-112 is simply a

transposition of the same cseg in the horn, the second half is not. The IOIseg analysis of


52

the oboe in mm. 111-112 likewise reveals an almost parallel similarity to the horn

Hauptstimme in mm. 18-19.

Horn fragment m. 19

Oboe mm. 111-112

Example 4.27. Comparison of the Horn Fragment in m. 19 and the Oboe in mm. 111-112.

The flute Hauptstimme in mm. 112-113 states the same row form and the CAS

inversion of the oboe segment in mm. 111-112, as shown in Examples 4.28. The next two

Hauptstimme statements mimic the oboe and flute Hauptstimme in mm. 111-113.

Although the horn Hauptstimme in m. 114 states a transposition of the oboe’s row form

in mm. 111-112, the horn’s second segment in m.114 features the same rhythmic figure

and CAS as the oboe’s second segment in mm. 111-112. The oboe in mm. 115-117

features the literal transposition of the first four flute pitches in mm. 112-113 and the

rhythm is varied significantly. The horn Hauptstimme in mm. 116-117, features the same

CAS as the previous oboe Hauptstimme.


53

Oboe mm. 111-112

Flute mm. 112-113

Horn m. 114

Oboe mm. 115-117

Horn mm. 116-117

Example 4.28. CAS and Ordered Pitch Interval Comparison of the Oboe in mm. 111-112, the Flute in mm. 112-113, the Horn in m. 114, the Oboe in mm. 115-117, and the Horn in mm. 116-117.

While the bulk of the primary theme in the exposition is played by the flute,

statements marked Hauptstimme in the recapitulation are rotated throughout all of the


54

instruments. The recapitulation begins in m. 128 with an exact repetition of the opening

flute motive in mm. 1-2, as shown in Example 4.29. Although the recapitulation begins

with an exact repetition of the opening three-note motive of the exposition, it quickly

diverts away from exact repetition. First, the next Hauptstimme statement in the clarinet

(mm. 128-129) enters two beats early. This statement also utilizes octave displacement of

two of the pitches, B and C, varying the contour while featuring the same pitch classes as

the flute in mm. 2-4.

Flute mm. 1-4 Flute and Clarinet mm. 128-129

Example 4.29. Comparison of the Flute in mm. 1-4 and the Flute and Clarinet in mm. 128-129.

Next, there is a false statement of the flute part from mm. 5-6 in mm. 130-132 of

the oboe part, as shown in Example 4.30. This false statement begins with a literal

transposition of the flute in mm. 5-6. The real recapitulation of the flute part from mm. 5-

7 is in mm. 131-134 of the horn, also shown in Ex. 4.30. The recapitulation of mm. 5-7 in

mm. 131-134 not only preserves the original series of pcs, but also maintains its original

contour, and is in fact a literal transposition of the first six notes down two octaves and of

the rest down just one octave.


55

Flute mm. 5-7

Oboe mm. 130-132

Horn mm. 131-134

Example 4.30. Comparison of the Flute in mm. 5-7, the Oboe in mm. 130-132, and the Horn in mm. 131-134.

Although it is not marked as a Hauptstimme statement, mm. 8-14 of the primary

theme in the flute part is recapitulated in mm. 134-139 of the flute part, as shown in

Example 4.31. The melodic and rhythmic contour of mm. 134-139 varies greatly from

that of mm. 8-14, due to the octave displacement of pitches, and the use of slurs to re-

segment the music. While the pitch-class relationships connect parallel flute segments in

mm. 8-14 and 134-139, the melodic contour of the flute Hauptstimme in mm. 134-139

imitates the previous horn Hauptstimme (mm. 131-134), as shown in Example 4.32.


56

Flute mm. 8-14

Flute mm. 134-139

Example 4.31. Comparison of the Flute in mm. 8-14 and the Flute in mm. 134-139.

Horn mm. 131-134

Flute mm. 134-139

Example 4.32. Cseg Comparison of the Horn in mm. 131-134 and the Flute in mm. 134-139.

The statements marked Hauptstimme in mm. 139-153 are a literal recapitulation

of the statements marked Hauptstimme in mm. 14-28; however, there is one more


57

instance of obscuring the recapitulation of the primary theme before the literal

recapitulation of the exposition continues in m. 155. First, the horn Hauptstimme

statement in mm. 153-155 features a pitch-class inversion of the horn’s segment in mm.

27-28, as shown in Example 4.33. The first four pitches of the horn segment in mm. 153-

155 imitate the prime contour of the flute cseg in mm. 152-153, as shown in Example

4.34. While pitch-class relationships connect the parallel Horn segments, contour

relationships connect the horn segment in mm. 153-154 to surrounding musical material.

Horn mm. 27-28 Horn mm. 153-154

Example 4.33. Ordered Pitch Class Interval Comparison of the Horn in mm. 27-28 and mm. 153-154.

Example 4.34. Cseg Comparison of the Flute and Horn in mm. 152-154.

Second, the oboe Hauptstimme statement in mm. 154-155 features the same pitch

classes as the clarinet Hauptstimme statement in m. 57 from the closing theme, as shown

in Example 4.35. Although the oboe Hauptstimme statement share the same pitch classes


58

as the clarinet Hauptstimme in m. 57, the C and G are displaced by an octave creating a

different contour. This contour imitates the prime contour of the flute segment in mm.

152-153, as shown in example 4.36. The recapitulation of the secondary and closing

themes are transpositions of the secondary and closing themes in the exposition.

Clarinet m. 57 Oboe m. 154

Example 4.35. Comparison of the Clarinet in m. 57 and the Oboe in m. 154.

Example 4.36. Cseg Comparison of the Flute, Horn, and Oboe in mm. 152-154.

Conclusion

Langdon Corson’s twelve-tone analysis clearly demonstrates that the contrast

between sections is defined in part by the row forms used and their segmentation. Each


59

theme in the exposition features a unique set of row forms and states the row forms in a

single voice in their first statement: the primary theme states P3, R3, and I3, the

secondary theme states I7, and the closing theme states RI7. The development section, on

the other hand, features a mixture of theses row forms as well as additional transpositions

and rotations of the row forms. The development section also features the layering of

different row forms. For example, in m. 105 the flute and bassoon begin by layering

hexachords from I7 and P3 followed by the oboe and clarinet layering hexachords from

P8 and I7 in the next measure. This use of row forms mimics the sonata form technique

of developing and synthesizing the primary and secondary thematic material introduced

in the exposition.

The melodic and rhythmic contour analysis of this movement demonstrates that

melodic contours and rhythms associated with themes are treated independently from the

treatment of the twelve-tone rows used to compose their initial presentation. The contrast

between sections is defined in part by the use of contrasting thematic material while the

coherence between sections is defined in part by the preservation of melodic and

rhythmic contour motives. The primary theme is characterized by a jagged contour and

the alternation of long and short durations, the secondary theme is characterized by the

alternation of jagged and linear contours and begins with long notes and ends with steady

quarter notes, and the closing theme is characterized by its neighbor-note figures and its

use triplet and sixteenth-notes groups.

In the development section, Schoenberg systematically restates a fragment from

one of the themes, develops it in imitation, and then moves on to another fragment.

Whether it is in pitch, pitch-class, contour, or duration-space, there is always at least one


60

thread of commonality between the original statement and its development. In many

cases melodic contour is used as the unifying motivic element. The first motive from the

primary theme (flute mm. 1-4) features the same CAS or its inversion in 78% of its

restatements, and the second motive from the primary theme (flute mm. 5-7) features the

same cseg subset (0213) or its inversion in 80% of its restatements. The CAS of the

secondary theme’s first motive (oboe mm. 42-46) either features its inversion or remains

closely related in 75% of its restatements.58 The first motive of the closing theme

(clarinet m. 55) features the same CAS or its inversion in all of its restatements and the

same IOIseg in 75% of its restatements, while the last motive of the closing theme

(clarinet m. 57) features the same rhythm and CAS in all of its restatements.

In the first movement of his Wind Quintet, Op. 26, Schoenberg generates the

musical material for the transition and development section from motives in the primary,

secondary, and closing themes. Schoenberg creates coherence in the transition and

development sections by weaving together pitch space, pitch-class space, contour, and

durational relationships that connect motivic material between and within formal

sections. His many uses of melodic contour throughout the first movement shows that it

is not simply a byproduct of the work’s serial structure, but rather an independent

variable capable of both creating and challenging coherence.

58 Segments whose cseg, CAS, dseg, or IOIsegs are at least a 75% match are considered closely related.


61

CHAPTER FIVE

SECOND MOVEMENT ANALYSIS

Corson labels the form of the second movement of Schoenberg’s Wind Quintet,

Op. 26 as a Scherzo-Sonata Form movement and divides it into the sections given in

Example 5.1.59 Schoenberg generates musical material for the development section from

the Scherzo primary and secondary theme motives. The motives undergo various pitch,

rhythmic, and contour transformations weaving them into a network of pitch, pitch-class,

contour, and duration-space relationships. This network of connections creates coherence

in the development section, as well as in a recapitulation section that features many false

and partial recapitulations of the Scherzo’s primary and secondary themes, and the trio

theme. Due to the movement’s length, this chapter will focus on Hauptstimme statements

and material that can be transformationally related to Hauptstimme statements.

Example 5.1. Langdon Corson’s Form Chart of the Second Movement of Schoenberg’s Wind Quintet, Op. 26.

59 Langdon Corson, Arnold Schoenberg’s Woodwind Quintet, Op. 26: Background and Analysis (Nashville: Gasparo Company, 1984), 67.

Section Measure #’s Scherzo 1-87 PT 1-27 ST 28-39 PT Reprise 40-87 Trio 88-141 Development 142-239 Recapitulation 240-358 Coda 359-419


62

I disagree with a few aspects of Corson’s formal analysis, as shown by my

revisions provided in Example 5.2. While Corson places the reprise of the primary theme

in m. 40, I place it in m. 61 for several reasons.60 While the motivic material in mm. 40-

60 is closely related to the primary theme, the tempo change and thinning out of the

texture in m. 61 better supports hearing it as the arrival of the primary theme reprise. In

addition, the statement marked Hauptstimme in mm. 61-65 features the same CAS and

series of durations with identical metrical placement as the opening primary theme

statement in mm. 1-5.

Section Measure #’s Scherzo 1-87 PT 1-27 ST 28-60 PT Reprise 61-87 Trio 88-142 Development 143-239 Recapitulation 240-359 Coda 360-419

Example 5.2. Revisions to Corson’s Form Chart.

The other places where my formal analysis differs from Corson are the beginning

of the development and coda. I mark the beginning of the development and coda one bar

later than Corson for several reasons. First, the piccolo material in m.142 and m. 359 is

accompanied by the other parts sustaining their last pitch in the previous section. Second,

60 There is an online video analysis of the movement that better reflects my hearing of it: see Bartje Bartmans, “Arnold Schoenberg – Wind Quintet, Op. 26, YouTube Video, 40:17, December 21, 2015, https://www.youtube.com/watch?v=VUEj5q43nec&t=133s.


63

the piccolo motives in m. 142 and m. 359 are not motivically related to the material that

follows them. Lastly, there are tempo changes in m. 143 and m. 360 that set the material

in those measures apart from the material in m. 142 and m. 359.

Schoenberg’s use of sonata form in this movement is different from his use of it

in the first movement in three ways. First, he develops a variant of the primary theme in

his development section rather than developing its initial presentation. Second, he

obscures the recapitulation of the Scherzo’s primary theme with a false recapitulation,

and he obscures the recapitulation of the Scherzo’s secondary theme by restating a

variation of it from the development section instead of its initial statement. Finally, he

does not transpose the Scherzo’s secondary theme material in the recapitulation.

The Scherzo’s primary theme (oboe mm. 1-18) is characterized by a jagged

contour and repeated pitches, as shown in Example 5.3. The primary theme statement is

followed by imitative exchanges in mm. 19-22 that develop fragments of the primary

theme and lead into the secondary theme’s initial statement (oboe mm. 28-34). Its four-

note slurs, steady quarter note pulse and linear contour at its beginning set the Scherzo’s

secondary theme apart from its primary theme (see Ex. 5.3b). The trio theme sets itself

apart from the Scherzo’s primary and secondary themes with its long durations and its

exclusive use of the cseg (2103) and its inversion, (1230) (see Ex. 3). Although the

Scherzo’s primary theme undergoes the most extensive development in this movement,

all three themes are used to generate musical material for the development section.


64

a) Scherzo Primary Theme (Oboe mm. 1-18)

b) Scherzo Secondary Theme (oboe 28-34)

c) Trio Theme (mm. 94-100)

Example 5.3. Comparison of Scherzo’s Primary and Secondary Themes and the Trio Theme.

The development section begins in mm. 143-144 with a repetition of the four-note

motive that began the movement played by the piccolo. A new form of that motive is

then played by the bassoon in mm. 145-146, as shown in Example 5.4. The bassoon

segment features the same series of durations with the same metric placement as the oboe

segment in mm. 1-2, and also shares the same CAS. This CAS relationship is reinforced

by the ordered pitch interval that begins each segment, -10. The other four-measure

segment of the bassoon’s Hauptstimme statement given in Ex. 4, mm. 147-150, is related

to the clarinet statement in mm. 46-49 through rhythm, contour, ordered pitch interval,


65

and row-form relationships. The bassoon’s segment in mm. 147-150 shares the same

series of durations with the same metrical placement as the clarinet in mm. 46-49 (the las

part of the second theme). The bassoon’s second segment also shares the same CAS as

the parallel Clarinet segment. This CAS relationship is reinforced by ordered pitch

interval and row-form relationships. The ordered pitch intervals differ in only two places:

the -1 in mm. 46-47 is answered with a -3 in mm. 147-148 and the -3 in m. 49 in

answered with a -1 in m. 150. Additionally, as highlighted by the arrows in the example,

both the clarinet and bassoon segments share the same row form with the hexachords

swapped (P-3 rotated to begin on its 4th and end on its 3rd); however, the crescendos in m.

48 and m. 149 cause the listener to hear the row form as broken up into a 7-note grouping

followed by a 5-note grouping.

Oboe mm. 1-2 Clarinet mm. 46-49

Bassoon mm. 145-150

Example 5.4. Comparison of the Oboe in mm. 1-2, the Clarinet in mm. 46-49, and the Bassoon in mm. 145-150.


66

The next statement marked Hauptstimme in the development section marks the

beginning of an imitative interplay between the piccolo and clarinet. This piccolo

segment in mm. 151-152 features the same series of pitch classes in almost the same

rhythm as the last clarinet segment in m. 49, as shown in Example 5.5.

Clarinet m. 49 Piccolo mm. 151-152

Example 5.5. Comparison of the Clarinet in m. 49 and the Piccolo in mm. 151-152.

Although the piccolo statement in mm. 151-152 is the only statement marked

Hauptstimme in mm. 151-158, the piccolo and clarinet imitate the same motivic material,

as shown in Example 5.6 and 5.7. The clarinet segment in mm. 152-153 features the same

CAS and ordered pitch interval subset, <-2 +4 -10>, as the piccolo statement in mm. 151-

152. Next, the piccolo segment in mm. 153-154 features the inversion of the previous

clarinet segment’s ordered pitch interval segment. Although the clarinet segment in mm.

154-155 features a different contour than the previous segments in this imitative section,

it is the inversion of the ordered pitch-class interval series in the Piccolo’s first segment

in mm. 151-152. The next imitative segment, piccolo mm. 155-156, features the same

CAS as the previous clarinet segment. The clarinet segment in m. 156 features the same

CAS as the piccolo segment that began the imitative section in mm. 151-152 and ends

with the same ordered pitch interval segment, <+10 -4>, as the piccolo segment in mm.

155-156. The next imitative segment, piccolo mm. 156-157 features the inversion of the


67

previous clarinet segment’s ordered pitch intervals. Finally, the clarinet segment in mm.

157-158 features the same ordered pitch-class intervals as the previous piccolo segment

in mm. 156-157.

Example 5.6. Comparison of the Piccolo and Clarinet in mm. 151-158.


68

Example 5.7. Ordered Pitch-Class Interval Comparison of Piccolo and Clarinet in mm. 151-158.

The next statements marked Hauptstimme in the development section, the Oboe

and Horn parts in mm. 172-178, develop the clarinet statement in mm. 46-49 from the

reprise of the primary theme, as shown in Example 5.8. The oboe and horn state rotated

retrogrades of the clarinet’s row form; the oboe begins on the first note of the row form

and the horn begins of the first note of the second hexachord.61 Both the oboe and horn

statements begin with the same cseg as the clarinet segment, (021). The second segment

of the oboe and horn statements features the inversion of the parallel clarinet cseg while

the third segment features the same CAS as the parallel clarinet segment in mm. 46-49.

61 In this dissertation I follow Jack Boss’s system for labeling row form rotations where (Tn) represents a row that is rotated n number of members over from the first row member.


69

Clarinet mm. 46-49

Oboe and Horn mm. 172-178

Example 5.8. Comparison of the Clarinet in mm. 46-49 and the Oboe and Horn in mm. 172-178. The next statement marked Hauptstimme, the Horn material in mm. 191-195, is

part of an imitative section that develops the opening secondary theme motives in mm.

28-31, as shown in Example 5.9-5.11. The first four pitch classes of the horn statement in

mm. 191-192 are the same as the oboe’s segment in mm. 28-29, then the horn repeats the

motive up a minor 3rd in the next two measures (Ex. 5.9). The second segment of the

accompanying clarinet and bassoon statements feature the contour inversion of the horn’s

first statement in mm. 191-192 (Ex. 5.10) There is no end Hauptstimme marking in the


70

horn until mm. 232; however, the similarities between the horn’s material and its

accompaniment in the clarinet and bassoon parts of mm. 192-195 and the bassoon’s

material and its accompaniment in the piccolo and clarinet part of mm. 196-199 suggests

that the bassoon is an unmarked Hauptstimme in mm. 196-199. In mm. 196-197 while

the bassoon plays the inversion of the horn’s second ordered pitch interval segment in

mm. 191-192, the piccolo and clarinet play the inversion of the clarinet and bassoon CAS

in mm. 191-192 (while the piccolo in m. 196 plays an inversion of the cseg in the

accompanying voices of mm. 191-192, the clarinet plays a more liberal inversion of that

shape).


71

Oboe m. 28

Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 191-199.

Example 5.9. Pitch and Pitch Interval Comparison of the Oboe in m. 28 and the Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 191-199.


72

Oboe mm. 28-31

Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 191-199.

Example 5.10. Contour Comparison of the Oboe in mm. 28-31 and the Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 191-199.


73

The oboe statement marked Hauptstimme in mm. 192-193 begins an imitative

exchange that is interwoven with the horn statement in mm. 191-199, as shown in Ex. 9-

11. While the horn statement in mm 191-192 develops the first segment of the oboe’s

statement in mm. 28-31, the oboe statement in mm. 192-193 develops the second

segment of the statement in mm. 28-32. The oboe’s first and fourth segments in mm. 192-

198 feature the retrograde of the oboe’s prime contour mm. 30-31 (the contour reduced to

its first, last, highest, and lowest pitches), while the second and third segments match that

prime contour (Ex. 10). The accompanying horn segments in mm. 197-199 also have the

same prime contour as the oboe segment in mm. 30-31. In addition, the horn segment in

mm. 198-199 has the same ordered pitch interval segment as the oboe segment in mm.

197. The piccolo segment in mm. 197-199 features the retrograde inversion of the oboe

cseg in mm. 30-31. The accompanying bassoon segment features the inversion of the

piccolo cseg in mm. 197-199.

The rhythm of the imitation in mm. 191-199 is based on the IOIseg of the oboe

segment in mm. 28-29, {000}, as well as the IOIseg {100}, as shown in Example 5.11.

The clarinet, horn, and bassoon opening segment all share the same IOIseg as the oboe

segment in mm. 28-29. While the clarinet and bassoon’s second segments feature the

{00} subset of the oboe dseg in mm. 28-29, the horn’s second segment features the

IOIseg {100}. The piccolo, oboe, and bassoon segments in mm. 196-198 and the horn

and clarinet segments in mm. 196-199 all feature the IOI {000} or its {00} subset. The

last piccolo and bassoon segments feature the same IOIseg as the horn’s second segment

in m. 193-195, [1002]. Finally, three of the four oboe segments in mm. 191-199 feature

the {10} subset of the horn IOIseg in mm. 193-195.Oboe mm. 28-31


74

Piccolo, Oboe, Clarinet, Horn, and Bassoon mm. 191-199

Example 5.11. IOIseg Comparison of the Oboe in mm. 28-31 and the Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 191-199.


75

The next imitation in mm. 203-207 develops the opening oboe material in mm. 1-

5, as shown in Example 5.12 and 5.13. This section begins with an unmarked

Hauptstimme in the clarinet part of mm. 203-207 that is the exact inversion of and

features the same rhythm as the oboe material in mm. 1-5 (see Ex. 5.12).62 The horn’s

material in mm. 204-207 features the same CAS as the clarinet in mm. 203-207, and its

ordered pitch interval series in similar as well. The oboe and bassoon material in mm.

204-207 each present an inversion of material from the oboe part in mm 1-5.

Oboe mm. 1-5

Oboe, Clarinet, Horn, and Bassoon mm. 204-207

Example 5.12. Comparison of the Oboe in mm. 1-5 and the Oboe, Clarinet, Horn, and Bassoon in mm. 204-207.

62 Each Hauptstimme line starts with the fourth note of the row form. The first three notes of P-3 are provided by the other instruments in m. 1, while the first three notes of I-3 are provided by the oboe in mm. 204-205.


76

The rhythm of the imitative statements in mm. 203-207 and the oboe statement in

mm. 1-5 are almost the same, as shown by the IOI labels in Ex. 13. The only difference in

rhythm between the clarinet and horn statements in mm. 203-207 and the oboe statement

in mm. 1-5 is the truncated last duration in the clarinet and horn’s first segment, the oboe

and bassoon statements share the exact same IOI as the oboe’s second segment in mm. 3-

5.

Oboe mm. 1-5


Example 5.13. IOIseg Comparison of the Oboe in mm. 1-5 and the Oboe, Clarinet, Horn, and Bassoon in mm. 204-207.


77

The imitation that continues into mm. 207-211 develops fragments of the oboe

material in mm. 1-5, as shown in Example 5.14. The first four piccolo pitch classes in

mm. 207-208 are the inversion of the ordered pitch intervals in the oboe’s second

segment in mm. 1-5. The last three piccolo pitch classes in mm. 207-208 feature the

contour inversion the oboe’s first segment in mm. 1-5. This contour relationship is

strengthened by the fact that the piccolo’s fourth ordered pitch interval in mm. 207-208,

+10, is the inversion of the oboe’s first ordered pitch interval in m.1, -10. Three of the six

imitative segments in mm. 207-211 share the same ordered pitch interval segment with

the piccolo part in mm. 207-208. Two of the six imitative segments feature the <+8 -2>

subset of the oboe’s second segment in mm. 1-5. The piccolo segment in mm. 210-211

features the same ordered pitch intervals as both oboe segments in mm. 1-5.


78

Oboe mm. 1-5

Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 207-211

Example 5.14. Comparison of the Oboe in mm. 1-5 and the Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 207-211.

The imitation that continues in mm. 211-214 develops another fragment of the

oboe material in mm. 1-5, as shown in Examples 5.15-5.19. This imitation begins in the

Clarinet where the first six pitches are nearly an exact inversion of the oboe’s fragment in

mm. 2-5 (Ex. 5.15). The last five pitches in the clarinet statement complete a pitch

palindrome with the first six pitches. The clarinet statement in mm. 211-214 also shares

the IOIseg subset {012} with the oboe fragment in mm. 2-5 (Ex. 5.16).

Oboe mm. 1-5


79

Clarinet mm. 210-214

Example 5.15. Ordered Pitch Interval Comparison of the Oboe in mm. 1-5 and the Clarinet in mm. 210-214. Oboe mm. 1-5


Example 5.16. Matching IOIseg Subsets in the Oboe in mm. 1-5 and the Clarinet in mm. 210-214. All Four statements featured in this imitation (mm. 211-214) are pitch-class

palindromes, as shown in Ex. 5.17, though the rhythm of the passage obscures its

palindromic pitch organization (the clarinet part is the only one that is a palindrome in

pitch space as well). Although the bassoon and clarinet each state different hexachords

from the same row form, the bassoon material is nearly a transposition of the clarinet

material; the only differences are the octave displacement starting with the F natural in m.


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212 and that the compound minor third leap in the clarinet (mm. 211-212) is answered by

a minor seventh leap in the bassoon (m. 212), as shown in Ex. 5.18. The oboe material is

a contour inversion of the clarinet material, as one can see by comparing the signs of the

ordered pitch interval segments in each (i.e., the CAS of the oboe segment is an inversion

of the clarinet’s CAS). More than that, the ordered series of pitch intervals in each also

have a lot in common, the only differences being that the oboe answers the clarinet’s

ascending minor sixth leap in mm. 210 and 214 with a descending minor second, it

answers the clarinet’s last descending major second (C to B♭) in m. 211 with its

ascending octave compound, a major ninth (+14), and it answers the clarinet’s ascending

minor tenth (+15) in mm. 211-212 with a descending minor sixth (-8). Although the horn

states the retrograde of the clarinet’s hexachord, the first five horn pitches in mm. 211-

214 are a contour inversion of the corresponding clarinet pitches, illustrated by the signs

of the ordered pitch interval segments. In addition, the ordered series of pitch intervals in

each have a lot in common, the only differences being that the sixth horn pitch is

displaced an octave creating a -10 instead of the expected +2 and the clarinet’s minor

tenth in mm. 211-212 is answered by the horn’s major tenth in m. 212.

Rhythmically all the imitative statements in mm. 211-214 feature nearly the same

IOI, as shown in Ex. 5.19. The oboe and bassoon statements have exactly the same

rhythm. The clarinet’s rhythm is almost the same, but it’s sixth note is twice as long as

the sixth note in the oboe and bassoon statements. The horn statement is almost the same,

but it does not repeat its ninth and tenth notes (C4 and B♭3) as the other parts do.


81

Example 5.17. Pitch-Class Palindromes in the Oboe, Clarinet, Horn, and Bassoon in mm. 211-214.


82

Example 5.18. Ordered Pitch Interval Analysis of the Oboe, Clarinet, Horn, and Bassoon in mm. 211-214.


83

Example 5.19. IOIseg Analysis of the Oboe, Clarinet, Horn, and Bassoon in mm. 211-214.

Although the piccolo part in mm. 214-218 is not marked as a Hauptstimme, it

leads an imitative exchange with the horn that develops the oboe segments in mm. 12-18


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of the primary theme, as shown in Example 5.20 and 5.21 . The rhythm of the piccolo

part in mm. 214-216 is the same as the rhythm of the oboe part in mm. 12-14, and three

of the four piccolo segments in mm. 214-218 share the same CAS as the parallel oboe

segments in mm. 12-18. Although the horn material in mm. 217-220 features the same

row form transposed down a perfect fifth as the piccolo material in mm. 214-218, the

horn’s first segment is a contour inversion of the piccolo’s first segment in mm. 214-215.

Also, the horn’s second segment in m. 218 features the return of the #.& rhythmic pattern,

while the horn’s third segment features the return of the full rhythmic pattern from the

oboe in mm. 12-13. As shown in Example 5.20, the rhythm of the oboe and clarinet

statements in mm. 215-220 is the same as the rhythm of the horn segment in mm. 217-

220, and the oboe and clarinet’s first segments in mm. 215-220 share the same CAS as

the parallel horn segment in mm. 217-218. The rest of the oboe and clarinet segments in

mm. 215-220 are contour inversions of the horn’s parallel segments in mm. 219-220.


85

Oboe mm. 12-18

Piccolo mm. 214-218

Horn mm. 217-220

Example 5.20. Comparison of the Oboe mm. 12-18, Piccolo mm. 214-218, and Horn mm. 217-220.


86

Example 5.21. Comparison of the Piccolo, Oboe, Clarinet, and Horn in mm. 215-220.


87

The imitation continues by developing the piccolo secondary theme motive in

mm. 35-36, as shown in Example 5.22. Although the piccolo and clarinet imitative

statements in mm. 221-225 state the inversion of the piccolo’s row form in mm. 35-36 at

T5, the second segment of the piccolo and clarinet statements in mm. 221-225 nearly

share the same ordered pitch interval segment with the piccolo material in mm. 35-36; the

piccolo only differs in the second to last ordered pitch interval and the clarinet differs in

the last two ordered pitch intervals. On the other hand, the horn and bassoon imitative

statements begin with the retrograde of the piccolo’s first three ordered pitch intervals in

mm. 35-36 and end with the inversion of the piccolo’s ordered pitch interval segment in

mm 35-36.


88

Piccolo mm. 35-36

Piccolo and Clarinet mm. 221-223

Horn and Bassoon in mm. 222-225.

Example 5.22. Comparison of the Piccolo mm. 35-36 and the Piccolo, Clarinet, Horn, and Bassoon in mm. 221-225.


89

The imitation continues in mm. 226-227 with the development of a fragment from

the oboe part in mm. 1-5, as shown in Example 5.23. The oboe and bassoon parts in mm.

226-227 state the inversion of the oboe’s hexachord in mm. 1-5 at T5. Although the horn

states the inversion of the row form’s first hexachord in mm. 1-5, the horn part nearly

features the ordered pitch class inversion of the oboe segment in mm. 2-5. The only

difference is that the descending minor third in the oboe in m. 5 is answered by an

ascending minor ninth (+13) in the horn in mm. 226-227. Rhythmically, the oboe and

horn parts in mm. 226-227 share the opening dseg subset [01111] with the clarinet music

in m. 212, which develops the same fragment from the oboe part in mm. 1-5, as shown in

Example 5.24. If bassoon segment in m. 227 began with a shorter duration, then it would

also feature the dseg subset [01111] like the other statements.

Oboe mm. 1-5

Oboe, Horn, and Bassoon mm. 226-227

Example 5.23. Comparison of the Oboe mm. 1-5 and the Oboe, Horn, and Bassoon in mm. 226-227.


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Example 5.24. Dseg Comparison of the Clarinet mm. 212-214 and the Oboe, Horn, and Bassoon in mm. 226-227.

The final imitative passage in the development in mm. 227- 240 develops the

opening segment of the primary theme in mm. 1-5, as shown in Example 5.25. This

imitative section begins in the oboe in mm. 227 and features the same rhythm as the first

four oboe notes in mm. 1-2. The oboe’s first segment, the horn’s first two segments, and

the piccolo’s third segment in mm. 227-234 feature the oboe’s ordered pitch interval

subset from mm. 1-2 in inversion. The rest of the piccolo segments, as well as three of the

five oboe segments, the clarinet’s first segment, the horn’s third segment, and four of the

five bassoon segments all share the inversion of the oboe’s CAS in mm. 1-2. The oboe’s

third segment, the clarinet’s second and third segment, and the bassoon’s third segment in

mm. 227-234 feature the oboe’s ordered pitch interval segment from mm. 26-27. The


91

clarinet’s fourth segment in mm. 227-234 features the inversion of the oboe’s CAS in

mm. 26-27, while the clarinet’s fifth segment features the same CAS as the oboe segment

in mm. 26-27.

Oboe m. 1-2 Oboe mm. 25-27

Piccolo, Oboe, Clarinet, Horn, and Bassoon mm. 227-234.


92

Example 5.25. Comparison of the Oboe in mm. 1-2, the Oboe in mm. 25-27, and the Piccolo, Oboe, Clarinet, Horn, and Bassoon in mm. 227-234.

The final horn imitative statement in mm. 235-240 is a false recapitulation of the

opening five measures of the primary theme; it features the same pitches but is metrically

placed one beat earlier than the opening oboe material and presents only the first nine of

the prime form’s pitch classes (the row form in completed in another voice), as shown in

Example 5.26. The accompanying piccolo statement in mm. 234-235 begins with a

contour inversion of the oboe segment in mm. 1-2.


93

Oboe m. 1-5

Piccolo and Horn mm. 234-240

Example 5.26. Comparison of the Oboe in mm. 1-5 and the Piccolo and Horn in mm. 234-240.

The recapitulation of the exposition in this movement does not unfold as literal

recapitulation. Some of the primary theme motives are imitated before being

recapitulated at the proper pitch level and the secondary theme and trio theme are only

partially recapitulated. The true recapitulation of the primary theme in mm. 241-247 of

the bassoon part is accompanied by an imitation of the primary theme in the clarinet part,

as shown in Example 5.27. This imitation in mm. 240-247 features the same CAS as the

oboe in mm. 1-7 (Ex. 5.27). This CAS relationship is reinforced by partially related

ordered pitch intervals; of the 5 intervals that do not match, 3 of those are simple octave

compounds of the original interval ( +2 is answered by +14, -8 is answered by -20, and

+2 is answered by +38). Rhythmically, as shown in Ex. 5.28, the clarinet and bassoon


94

parts begin with a truncated first duration, but thereafter share the same IOIseg as the one

in mm. 3-7 of the oboe’s initial statement of the primary theme.

Oboe mm. 1-7

Clarinet and Bassoon in mm. 240-247

Example 5.27. Comparison of the Oboe in mm. 1-7 and the Clarinet and Bassoon in mm. 240-247.


95

Oboe mm. 1-7

Clarinet and Bassoon in mm. 240-247

Example 5.28. IOIseg Comparison of the Oboe in mm. 1-7 and the Clarinet and Bassoon in mm. 240-247.

The next imitative section in the recapitulation begins with the imitation of the

oboe’s primary theme material in mm. 7-11, as shown in Example 5.29. The horn’s

ordered pitch interval segment in mm. 247-251 has much in common with the oboe’s

ordered pitch interval segment in mm. 7-11; the only difference being that the descending

minor second in the oboe (m.8) is answered by an ascending minor second in the horn

(m. 247) and the minor ninth (+13) in the oboe (mm.10-11) is answered by a minor tenth


96

(+15) in the horn (mm. 249-250). Although the clarinet imitative statement in mm. 248-

251 begins on a different pitch than the oboe music in m. 7, the rest of the clarinet

statement features the same pitches as the oboe music in mm. 8-11. The adjustments

made in mm. 247-251 balance each other by exchanging two pairs of ordered pitch-class

dyads: the opening C-C♯ is answered by the C-D♭ in the clarinet 3 bars later, while the

opening F-A♭ in the clarinet is answered by the F-A♭ in the horn 2 bars later. Rhythmically,

the horn and clarinet imitative statements feature the same rhythm as mm. 8-11 of the

oboe part.

Oboe mm. 7-11

Clarinet and Horn in mm. 247-251

Example 5.29. Comparison of the Oboe in mm. 7-11 and the Clarinet and Horn in mm. 247-251.

The last seven measures of the clarinet statement marked Hauptstimme in mm.

252-258 recapitulate the oboe primary theme material in mm. 12-18. Measures 252-258

mark the first time that primary theme material is presented with the exact same pitches,

rhythms, and metric placement as the corresponding exposition material.


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The next two statements marked Hauptstimme in the recapitulation, oboe mm.

259-261 and bassoon mm. 261-263, imitate the bassoon and clarinet music in mm. 19-23,

as shown in Example 5.30. The oboe segment in mm. 259-261 features nearly the same

ordered pitch interval segment as the bassoon in mm. 19-21, the only difference being

that the major sixth in the bassoon part of m. 20 is answered by a major seventh in the

oboe part of m. 260. The accompanying bassoon statement in mm. 261-263 features the

same contour as the clarinet and bassoon segments in mm. 19-23, but the same pitches as

the horn segment in mm. 23-25. This relationship is notable because the horn segment in

mm. 23-25 begins a three-voice imitative section that is recapitulated rhythmically and

with identical contour in mm. 263-267 of the recapitulation, however the recapitulation of

the horn segment’s pitch classes in mm. 23-25 occurs in mm. 261-263.


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Horn mm. 23-25


Example 5.30. Comparison of the Clarinet and Bassoon in mm. 19-23, Horn mm 23-25, and the Oboe and Bassoon in mm. 259-263. The next three statements marked Hauptstimme in the recapitulation (horn mm.

263-265, oboe mm. 264-266, and piccolo mm. 265-267) are a recapitulation of the horn,

clarinet, and oboe music in mm. 23-27, sharing both the same rhythm, pitch classes, and

contour, as shown in Example 5.31. The horn part in mm. 263-265 nearly shares an

identical ordered pitch interval segment with the horn part in mm. 23-25, the only

difference being that the horn’s minor second in m. 23 is answered by the horn’s minor

third in m. 263. The oboe and piccolo parts in mm. 234-237 share the same pitch classes


99

as the oboe and clarinet parts in mm. 24-27 respectively. While this analysis explains

why the pitch class succession in the oboe part of mm. 25-27 is the same as that of the

oboe in mm. 264-266, and why the pitch class succession in the clarinet part of mm. 24-

26 is the same as that of the piccolo in mm. 265-267, it does not explain why Schoenberg

chose to swap the relative entrances of these two hexachords, or why he chose to swap

the contour associated with them. One obvious explanation would be that it was

motivated by his preference for developing variation, as expressed in his essay Brahms

the Progressive.63 Another explanation would be that it was motivated by his desire to

replace the transposition and consequent tonal transformation that happens in the

recapitulation of a sonata form movement in tonal music.64

63 Arnold Schoenberg, “Brahms the Progressive,” in Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein (New York: St. Martens Press, 1975), 52-101. 64 Joseph Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge Mass.: Harvard University Press, 1990).


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Oboe, Clarinet, and Horn mm. 23-27

Piccolo, Oboe, and Horn mm. 263-267

Example 5.31. Comparison of the Oboe, Clarinet, and Horn in mm. 23-27 and the Piccolo, Oboe, and Horn in mm. 263-267.

The recapitulation of the secondary theme in mm. 268-274 is not a literal

recapitulation of the secondary theme in mm. 28-34; instead, it imitates the development

of that material in mm. 191-195, as well as parts of the initial statement of it in mm. 28-

34 of the exposition, as shown in Example 5.31-5.33. In this imitative section contour and

rhythm play a major role in connecting the material in mm. 268-274 to the presentation of

secondary theme material in mm. 28-34 and mm. 191-195. In the oboe, horn, and


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bassoon segments of mm. 268-269, the material in the voice marked Hauptstimme and

the material in supporting voices is the opposite of the Hauptstimme and supporting

voices in mm. 191-195, as shown in Example 5.32. The oboe statement marked

Hauptstimme in mm. 268-271 features the contour inversion of the supporting clarinet

and bassoon segments in mm. 191-192, while the accompanying horn and bassoon

segments in mm. 268-269 feature the contour inversion of the horn statement marked

Hauptstimme in mm. 191-192. Of the oboe’s remaining two segments in mm. 272-274,

the oboe’s first segment in mm. 272-273 inverts the contour of the oboe segment in mm.

30-31 and the oboe’s second segment in mm. 273-274 features the same contour as the

oboe segment in mm. 33-34. All three of the horn’s remaining segments in mm. 270-274

share contour relationships with the corresponding oboe segments in mm. 270-274. Of

the bassoon’s three remaining segments in mm. 270-274, two share the same contour as

the oboe segment in mm. 268-269 and one features the inversion of the oboe segment’s

contour in mm. 268-269.


102

Oboe mm. 28-34




103

Example 5.32. Comparison of the Oboe in mm. 28-34, the Oboe, Clarinet, Horn, and Bassoon in mm. 191-195, and the Oboe, Horn, and Bassoon in mm. 268-274.

Rhythmically, the oboe, horn, and bassoon segments in mm. 268-274 feature the

same patterns as the oboe, clarinet, and bassoon music in mm. 28-34 with the exception

of two segments, as shown in Example 5.33. First, the oboe’s third IOIseg in mm. 268-

274 features a truncated version of the oboe’s third IOIseg in mm. 28-34. Second, the

horn’s second segment in mm. 268-274 features a swing transformation of the clarinet’s

second segment in mm. 28-34, as shown in Example 5.34. Swing transformations occur

when one or more durations in a segment are expanded while one or more pitches that

follow are shortened in order to preserve the metric placement of the beginning and end

of the segment. 65 In mm. 270-271, the horn’s second duration is expanded by an eighth

note while its last duration is shortened by an eighth note compared to the clarinet’s

second and last durations in mm. 30-31. The shortening of the last duration of the horn

segment in m. 270-271 allows the next segment to share the same metric placement as the

65 Jason Yust, Organized Time (New York: Oxford University Press, 2018), 16-19.


104

corresponding clarinet segment in mm. 32-33. Although the clarinet’s two sixteenth notes

in m. 30 are answered by the horn’s eighth note in m. 270, the sum of the durations that

articulate A4 in m. 30 and the sum of the duration that articulate G♯3 in mm. 270-271

both add up to a quarter note and thus do not alter the metric placement of their

respective segments. The swing transformation allows Schoenberg to create a new quasi-

imitative relationship between the horn in m. 270 and the bassoon in m. 272 (see Ex.

5.33), since both parts set the same rhythm and begin with an ascending major sixth leap

from C up to A.


105

Oboe, Clarinet, and Bassoon mm. 28-34


Example 5.33. IOIseg Comparison of the Oboe, Clarinet, and Bassoon in mm. 28-34 and the Oboe, Horn, and Bassoon in mm. 268-274.


106

Clarinet mm. 30-32

(rhythm from clarinet mm. 30-32 with the pitches from horn mm. 270-272)

(G♯ sixteenth notes condensed into one eighth note)

Horn mm. 270-272 (all notes but A in mm. 270-271 delayed by an eighth note) Example 5.34. Rhythm Comparison of the Clarinet in mm. 30-32 and the Horn in mm. 270-272.

The rest of the statements marked Hauptstimme in the recapitulation (clarinet

mm. 280-291 and the Oboe and clarinet in mm. 329-338) feature the same pitch classes

as the corresponding sections of the exposition.

Conclusion

Schoenberg creates coherence and contrast in this movement by weaving together

pitch, pitch-class, contour, and duration-space relationships that connect motivic material

between and within formal sections. Corson’s twelve-tone analysis clearly demonstrates

that the contrast between sections is defined in part by the row forms used and their

segmentation. Although there is a little overlap in the row forms used in the Scherzo and

Trio sections (P3 and RI3), both sections feature a few unique row forms: the Scherzo


107

features I3 and R3 and the Trio features RI0, RI7, and P8. The development section, on

the other hand, features a mixture of the row forms used in the Scherzo and Trio

including P3, RI3, I3, R3, P8, as well as two row forms found in neither of the earlier

sections: I8 and RI8. The Scherzo and Trio sections also differ in how the row forms are

used to generate the themes for each section: the Scherzo’s primary and secondary

themes (oboe mm. 1-18 and mm. 28-34) use three or more row forms broken up amongst

multiple voices in their first statements, while the Trio theme (Oboe mm. 94-100) only

uses one row form stated in a single voice in its first statement.

The melodic and rhythmic contour analysis of this movement demonstrates that

the contrast between sections is defined in part by the use of contrasting thematic material

while the coherence between sections is defined in part by the preservation of melodic

and rhythmic contour motives. The Scherzo’s primary theme is characterized by its #. &

rhythmic pattern, jagged contour, and repeated pitches, the Scherzo’s secondary theme is

characterized by its # # # ' rhythmic pattern and linear contour, and the Trio theme is

characterized by its long durations and its exclusive use of cseg (2103) and its inversion,

(1230).

The first motive from the Scherzo’s primary theme (oboe mm. 1-2) features the

same dseg and either the same CAS or its inversion in 92% of its restatements, and the

second motive from the Scherzo’s primary theme (oboe mm. 3-5) features the same dseg

and either the same CAS or its inversion in 94% of its restatements. Although the

Scherzo’s secondary theme and the Trio theme are not developed as extensively as the

Scherzo’s primary theme, the first motive from the Scherzo’s secondary theme (oboe

mm. 28-29) shares the same rhythm and either the same cseg or its inversion in all three


108

of its restatements. Three out of the six restatements of the Trio theme feature the same

rhythm and contour as its initial presentation in mm. 94-100. Its other three trio theme

restatements feature the same CAS but in different rhythms. These correspondences

allow one to recognize familiar thematic material even when two presentations of the

same theme do not share the same row partitioning, as with the return of the first three

measures of the Scherzo’s primary theme in mm. 21-23 (see Example 5.35), or the return

of mm. 12-16 of the Scherzo’s primary theme in mm. 214-217 (see Example 5.20).

Oboe mm. 1-3

Clarinet mm. 21-23

Example 5.35. Row Form Comparison of Oboe mm. 1-3 and Clarinet mm. 21


109

CHAPTER SIX

THIRD MOVEMENT ANALYSIS

In the third movement of his Wind Quintet, Op. 26, Schoenberg uses melodic and

rhythmic contour to create coherence both within and between musical sections. Like the

first and second movements of this piece, the third movement utilizes a network of pitch,

pitch-class, contour, and duration-space relationships to create coherence. Unlike the first

two movements of this piece, the third movement’s Hauptstimme and Nebenstimme

themes are made up of non-consecutive row members that represent compositional

choices independent of the movement’s serial organization. This is due to the unique

partitioning of the row forms in the A section that divides the notes of each row between

the Hauptstimme and Nebenstimme. Rhythm is the dominant unifying motivic element in

A section Hauptstimme restatements, while melodic contour is the dominant unifying

motivic element in the A section Nebenstimme restatements. Although Schoenberg treats

the serial structure and motivic structure as independent elements in the A sections, the

serial synthesis in the second half of the B section that Jack Boss details in his twelve-

tone analysis can also be seen in this dissertation’s melodic contour analysis.

Boss argues that the large-scale form of the third movement is ternary based on

his twelve-tone analysis.66 His analysis is shown in Example 6.1. The first A section is

from mm. 1-34 and consists of four statements marked Hauptstimme and Nebenstimme.

The first statement marked Hauptstimme (horn, mm. 1-7) begins with the IOIseg {10} in

the horn that continues to three transformations of this rhythmic cell as shown in

Example 6.2. The first transformation of the rhythmic cell in mm. 2-3, IOIseg {01},

66 Jack Boss, Schoenberg’s Twelve-Tone Music, 132.


110

features the breaking up of each of the long notes (F and D!) into two repeated notes and

shortening of the first interonset interval in the IOIseg. The second transformation of the

rhythmic cell in mm. 4-5, IOIseg {01}, features the return of the tied long notes (A!). The

final transformation of the rhythmic cell in mm. 6-8 features the return of IOIseg {10}

and the breaking up of the short note (E) into two repeated notes and the last long note

(F#)into three repeated notes.

The Nebenstimme that spans the entire bassoon part in mm. 1-7 is characterized

by the rhythmic pattern!!!"that is varied in m.3 but returns in m. 5, as shown in Example

6.3. The first variation on this rhythmic pattern in m. 3, IOIseg {000}, features four

durations of equal value. The second variation in m. 4 features IOIseg {01} in which the

long note (B!) is broken up into three repeated notes. The last variation in m. 4-6 features

IOIseg {100} in which the first long note (F♯) is broken up into two repeated notes.


111


112

Example 6.1. Jack Boss’s Form Chart of Schoenberg’s Wind Quintet op. 26, movement III67

Example 6.2. IOIseg Analysis of the Hauptstimme in mm. 1-7.

Example 6.3. IOIseg Analysis of the Nebenstimme in mm. 1-7.

67 Jack Boss, Schoenberg’s Twelve-Tone Music , 132.


113

From the very beginning, Schoenberg uses melodic contour to create motivic

coherence that aligns with the rhythmic cells mentioned above, cells that he develops

throughout the movement. Schoenberg repeats and varies his csegs in this movement in a

similar fashion to how he manipulates his twelve-tone row, but the repetitions and

variations of the csegs operate independently from that of the row forms. Example 6.4

illustrates the three iterations of the row in mm. 1-7 using numbers to represent each

pitch’s order position within the row’s prime form.

Example 6.4. Twelve-tone row analysis of Schoenberg’s Wind Quintet, III, Horn and Bassoon parts mm. 1-7. Integers represent order positions within prime form.

PrimeForm:E! GABC♯CB!DEF♯G♯F


114

Schoenberg uses a combination of repetition and variation of csegs to construct

the parts marked Hauptstimme and Nebenstimme, as shown in Example 6.5. The music

marked Hauptstimme in the horn part is a melodic contour palindrome: (210) (201) (102)

(012). The axis of symmetry for the horn’s contour palindrome is in m. 4 and it is at this

point where the bassoon borrows motivic material from the horn melody. The bassoon’s

segment in m.4, cseg (210), has the same contour as the horn segment in mm. 1-2.

The music marked Nebenstimme in the bassoon part of mm. 1-7 is dominated by

three occurrences of the cseg (3120), and the cseg in measure 6, (3021), is related to

(3120) through a common CAS (- + -); that is, they both move down, then up, then down.

The CAS of the contour motive in measure 3, (+ - +) is the inversion of the CAS for the

csegs (3120) and (3021). Five of the seven segments labeled in the bassoon part of

Example 6.5 can thus be traced back to its first four-note segment through contour

relations. Of the remaining two segments in the bassoon part, we have already traced the

origin of the one in m. 4 to the Hauptstimme expressed by the horn in mm. 1-2. The

remaining segment in measure 7 of the bassoon part, cseg (120), can easily be heard as an

incomplete expression of the segment played by the bassoon in m. 3, (1203).


115

Example 6.5. Contour Analysis of Horn and Bassoon in mm. 1-7

The second statement marked Hauptstimme (clarinet, mm. 8-14) features virtually

the same rhythm as the Horn in mm. 1-7: TheB!sin mm. 11-12 and the as in m.12 are

broken up into two repeated notes, as denoted by the asterisks in Example 6.6. The part

marked Nebenstimme in the horn features almost the same rhythm as the bassoon in mm.

1-7 with the only major difference in rhythm existing in m. 10, as shown in Example 6.7.

There are minor differences in the parts marked Nebenstimme in m. 1-7 and m. 8-14. In

m. 8 there is one quarter note less than the segment in m. 1. In mm. 11-12 the first and

second A!sand the C on the last quarter note of the measure are tied where the B!sand Fs

in mm. 4-5 were not. Also, the last segment in m. 14, IOIseg {0}, is missing its last

quarter note in comparison to the segment in m. 7, IOIseg{01}.


116

Horn mm. 1-7

Clarinet mm. 8-14

Example 6.6. Dseg Comparison of the Hauptstimmen in mm. 1-7 and 8-14. Bassoon mm. 1-7

Horn mm. 8-14

Example 6.7. IOIseg Comparison of the Nebenstimmen in mm. 1-7 and 8-14.


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Although the clarinet part in mm. 8-14 states the inversion of the horn’s row form

in mm. 1-7, only two of the four clarinet segments in mm. 8-14 are the inversion of the

horn’s corresponding csegs in mm. 1-7, as shown in Examples 6.8-6.9. The clarinet’s

second segment features the retrograde of the parallel horn segment and the clarinet’s

first segment in mm. 8-14 is the only one that does not correspond to a parallel horn

segment in mm. 1-7, instead the clarinet’s first segment has the same cseg as the

bassoon’s last segment in m. 7.

Horn mm. 1-7

Clarinet mm. 8-14

Example 6.8. Row Form Comparison of the Hauptstimmen in mm. 1-7 and 8-14.


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Horn mm. 1-7

Clarinet mm. 8-14

Example 6.9. Contour Comparison of the Hauptstimmen in mm. 1-7 and 8-14.

The contour relationships between corresponding segments in the horn (mm. 1-7)

and the clarinet (mm. 8-14) are reinforced by the ordered pitch interval relationships

shown in Example 6.10. The clarinet’s second segment begins with the same ordered

pitch interval as the corresponding horn segment, -10, while the clarinet’s last segment

answers the horn’s ascending perfect fourth (+5) in m. 6 with a descending perfect fourth

(-5) in m. 13, and the horn’s ascending major second (+2) in mm. 6-7 with its descending

octave compound (-14) in mm. 13-14. In addition, the clarinet’s third segment features

the inversion of the horn’s ordered pitch interval segment in mm. 4-6.


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Horn mm. 1-7

Clarinet mm. 8-14

Example 6.10. Ordered Pitch Interval Comparison of the Hauptstimmen in mm. 1-7 and 8-14.

Like the row form relationship between the clarinet in mm. 8-14 and the horn in

mm. 1-7, the horn in mm. 8-14 states the inversion of the bassoon’s row form in mm. 1-7,

as shown in Example 6.11. The relationship between the horn contour segments in mm.

8-14 and the bassoon contour segments in mm. 1-7 is not obvious when analyzing exact

pitches and rhythms, but both passages share the same basic contour shapes, as shown in

Example 6.12. In this dissertation I use Morris’s term prime contour to describe a contour

that is reduced to its first, lowest, highest, and last pitches. The x’s within csegs represent

pitches pruned out using the composite contour-reduction algorithm. Overlapping csegs

denote pairs of csegs that form a composite cseg in which one or more pitches at the end

of the first cseg create the beginning of the second cseg.


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Bassoon mm. 1-7

Horn mm. 8-14

Example 6.11. Row Form Comparison of Nebenstimmen in mm. 1-7 and mm. 8-14. Bassoon mm. 1-7

Horn mm. 8-14

Example 6.12. Contour Comparison of the Nebenstimmen in mm. 1-7 and mm. 8-14.


121

The first three horn segments in mm. 8-10 all share the same prime contour of

(021) which is the contour inversion of the bassoon’s first three pitches in m. 1. This

contour relationship is reinforced by the fact that horn’s first and third segments also

feature the inversion of the bassoon’s first two ordered pitch intervals in mm. 1-2, <+10 -

2>, as shown in Example 6.13. The fourth segment has the same ordered pitch intervals

in both passages, <-10-6>. The horn’s fifth and sixth segments in mm. 12-14 all share the

same prime contour of (201) which is the inversion of the bassoon’s (021) cseg from mm.

8-10. These horn’s segments also begin with same ordered pitch interval as the

corresponding bassoon segment in mm. 4-6, -11. The horn’s last segment can be seen as

an incomplete statement of the bassoon’s contour in m. 7.

Bassoon mm. 1-7

Horn mm. 8-14

Example 6.13. Ordered Pitch Interval Comparison of the Nebenstimmen in mm. 1-7 and mm. 8-14.


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The third statement marked Hauptstimme (oboe, mm. 15-19) swaps the rhythmic

and contour material given to the previous parts marked Hauptstimme and Nebenstimme.

The oboe part in mm. 15-19 is based on the same rhythmic cells and prime contours that

defined the music marked Nebenstimme in mm. 1-7 of the bassoon, as shown in Example

6.14. Two out of the seven oboe segments in mm. 15-19 feature the same IOIseg as the

corresponding bassoon segments in mm. 1-7, while the oboe’s fourth segment is the

retrograde of the corresponding bassoon IOIseg in m. 4. Although an IOIseg analysis of

this passage suggests little similarity between the oboe’s first, third, and last IOIsegs, an

intuitive approach shows that these oboe segments are transformations of the

corresponding bassoon segments in mm. 1-7. Both the oboe’s first and third segments are

an eighth note away from sharing the same IOIseg as the corresponding bassoon

segments in mm. 1-7. That is if the first note in the first and third segments was a dotted

quarter note instead of a quarter note then both segments would have the IOIseg {000}.

The oboe’s last segment in m. 19 is missing a quarter note in comparison to the bassoon

segment in m. 7.


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Bassoon mm. 1-7

Horn mm. 8-14

Oboe mm. 15-19

Example 6.14. IOIseg Comparison of the Nebenstimmen in mm. 1-7 and mm. 8-14, and the Hauptstimme in mm. 15-19.

The oboe in mm. 15-19 states a rotation of the bassoon’s row form in mm. 1-7, as

shown in Example 6.15.68 The relationship between the oboe melodic contour segments

in mm. 15-19 and the bassoon melodic contour segments in mm. 1-7 is not obvious when

analyzing exact pitches; however, all three passages share the same basic contour shapes,



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as shown in Example 6.16. I used the composite contour-reduction algorithm explained

earlier to reduce the csegs in Example 6.16 to their prime contours. The oboe’s first

segment in m. 15 has the same prime contour as m.1, (01) The second and second part of

the third segment in mm. 15-19 are more directly related to the parallel segments in the

horn part of m. 10: the (201) in m. 16 is the inversion of the (021) in m. 10, while the

(021) in mm. 17-18 is the same as cseg in m. 10. The rest of the segments in mm. 15-19

either share the same prime contour or are inversions of the prime contour when

compared to the corresponding segments in mm. 1-7.

Bassoon mm. 1-7

Oboe mm. 15-19

Example 6.15. Row Form Comparison of the Nebenstimme in mm. 1-7 and the Hauptstimme in mm. 15-19.


125

Bassoon mm. 1-7

Horn mm. 8-14

Oboe mm. 15-19

Example 6.16. Prime Contour Comparison of the Nebenstimmen in mm. 1-7 and mm. 8-14, and the Hauptstimme in mm. 15-19.

The bassoon part marked Nebenstimme in mm. 15-19 features almost the same

dsegs as the music marked Hauptstimme in mm. 1-7: The horn’s tied E♭ in m. 1 is

answered by the bassoon’s quarter note longer tied B and the bassoon’s third segment in

mm. 17-18 share the dseg subset [2031] with the clarinet’s third dseg in mm. 11-12, as

shown in Example 6.17. The similarities between the horn and bassoon’s second


126

segments are not obvious when analyzing dsegs, however the bassoon’s second segment

features the same IOIseg subset as the horn in mm. 2-4. Although the horn’s repeated D♭

in mm. 3-4 is answered by two different bassoon notes in mm. 17-18, the sum of the two

bassoon notes is the same durational value as the sum of the horn’s repeated D♭ in mm. 3-

4.

Horn mm. 1-7

Clarinet mm. 8-14

Bassoon mm. 15-19

Example 6.17. Dseg and IOIseg Comparison of the Hauptstimmen in mm. 1-7 and mm. 8-14, and the Nebenstimme in mm. 15-19.

The bassoon in mm. 15-19 states a rotation of the horn’s row form in mm. 1-7 and

features similar melodic contour segments as the horn in mm.1-7 and the clarinet mm. 8-

14, as shown in Example 6.18-6.19. The bassoon’s first segment in mm. 15-19 is the


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retrograde inversion of the clarinet’s first cseg in mm. 8-14. This contour relationship is

reinforced by the fact that the bassoon’s first segment is the inversion of the clarinet’s

ordered pitch intervals in mm. 8-9, as shown in Example 6.20. The bassoon’s second

segment in mm. 16-17 shares the same contour as the horn’s second segment in mm. 2-4.

The prime contour of the bassoon’s last segment in mm. 15-19 is the inversion of the

horn’s contour in mm. 4-6. This last bassoon segment also begins with the same ordered

pitch interval as the clarinet segment in mm. 13-14, -5. Note that the series of csegs that

constitute the Nebenstimme in mm. 15-19 forms a palindrome just as the series of csegs

that constitute the Haupstimme in mm. 1-7 did.

Horn mm. 1-7

Bassoon mm. 15-19

Example 6.18. Row Form Comparison of the Hauptstimme in mm. 1-7 and the Nebenstimme in mm. 15-19.


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Horn mm. 1-7

Clarinet mm. 8-14

Bassoon mm. 15-18

Example 6.19. Contour Comparison of the Hauptstimmen in mm. 1-7 and mm. 8-14 and the Nebenstimme Contour in mm. 15-19. Clarinet mm. 8-14

Bassoon mm. 15-19

Example 6.20. Ordered Pitch Interval Comparison of the Hauptstimme in mm. 8-14 and the Nebenstimme in mm. 15-19.


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The fourth statement marked Hauptstimme (flute, mm. 22-30) features almost the

same rhythm as the horn in mm. 1-7 for the first four measures, as shown in Example

6.21. One difference is that the sustained C in m. 23 is an eighth note shorter than the

sustained B flat in m. 2. The next difference is that the E flat in m. 23 is an eighth note

longer than the F in m. 2. Another difference is that the last pair of notes in the flute’s

second segment in mm. 23-25, IOIseg{110}, changes from being the same pitch (D♭) in

mm. 3-4 to being on different pitches (D to C♯) in mm. 24-25. Example 22 is a step-by-

step illustration of the rhythmic transformation that occurs between mm. 1-4 and mm. 22-

25.

Horn mm.1-7

Flute mm. 22-30

Example 6.21. IOIseg Comparison of the Hauptstimmen in mm. 1-7 and mm. 22-30.


130

mm. 1-4

The rhythm of mm. 1-4 with the pitches of mm. 22-25

mm. 22-25.

Example 6.22. Rhythmic Transformation between mm. 1-4 and mm. 22-25.

The flute in mm. 22-30 states both the retrograde and the same row form as the

horn in mm. 1-7 and features similar melodic contour segments as the horn in mm. 1-6

and the clarinet in mm. 8-14, as shown in Example 6.23-6.24. The flute’s second segment

in mm. 22-30 is an expanded version of the horn segment in mm. 2-3. The flute’s fourth

segment features a composite contour in which the last pitch of the cseg (102) is also the

first note of the cseg (210).


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Horn mm. 1-7

Flute mm. 22-30

Example 6.23. Row Form Comparison of Hauptstimmen in mm. 1-7 and 22-30.


132

Horn mm.1-7

Clarinet mm. 8-14

Flute mm. 22-30

Example 6.24. Contour Comparison of the Hauptstimmen in mm. 1-7, 8-14, and 22-30.

The contour relationships between corresponding segments in the horn (mm. 1-7)

and flute (mm. 22-30) are reinforced by the ordered pitch interval relationships shown in

Example 6.25. The flute’s first and sixth segments (mm. 22-23 and m. 28) end with the

same ordered pitch interval as the clarinet segment in mm. 8-9 and the horn segment in

mm. 4-5, while the flute’s second segment (mm. 23-25) answers the horn’s ascending

tritone in mm. 2-4, +6, with its octave compound, +18. Additionally, the second part of

the flute’s third segment (mm. 26-27) is the inversion of the horn’s ordered pitch interval


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segment in mm. 6-7, and the last ordered pitch interval in the flute’s fifth segment is the

inversion of the corresponding horn ordered pitch interval in mm. 8-10.

Horn mm. 1-7

Clarinet mm. 8-14

Flute mm. 22-30

Example 6.25. Ordered Pitch Interval Comparison of the Hauptstimmen in mm. 1-7, 8-14, and 22-30.

The horn part marked Nebenstimme in mm. 22-26 features different rhythmic

content than the bassoon in mm. 1-7 and the horn in mm. 8-14, as shown in Example

6.26. However, it does state the inversion of the bassoon’s row form in mm. 1-7 and

feature a mixture of melodic contour content from the bassoon part in mm. 1-7 and the


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horn part mm. 8-14, as shown in Example 27-28. Compared to the horn in mm. 8-14, the

fourth through sixth segments are omitted in the horn in mm. 22-26.

Bassoon mm. 1-7

Horn mm. 8-14

Horn mm. 22-26

Example 6.26. IOIseg Comparison of the Nebenstimmen in mm. 1-7, 8-14, and 22-26.


135

Bassoon mm. 1-7

Horn mm. 22-26

Example 6.27. Row Comparison of the Nebenstimme in mm. 1-7 and mm. 22-26 Bassoon mm. 1-7

Horn mm. 8-14

Horn mm. 22-26

Example 6.28. Contour Comparison of the Nebenstimmen in mm. 1-7, 8-14, and 22-30.


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The B section in the third movement is from measure 34-81(I am skipping the

cadence material in mm. 31-33 because the last note marked as part of the Hauptstimme

in the score is in m. 30 and the next Hauptstimme marking is in the bassoon part of m.

34). It includes two episodes that each contain a two-voice canon (mm. 40-45 and mm.

61-67). The first part of the B section is from measures 34-52. The first statement marked

Hauptstimme (bassoon, mm. 34-39) features new melodic contour and rhythmic material.

It is characterized by three distinct rhythmic patterns and two distinct contours as shown

in Examples 6.29 and 6.30.

1) 2) 3)

Example 6.29. Rhythmic Patterns in the Hauptstimme in mm. 34-39.


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rhythm Pattern 1

Pattern 1

Pattern 2

Pattern 3

Pattern 2

Pattern 3

CAS (+ - + - -)

(+ - + +) (- + - - + - ) ( - + -)

(- +)

(+ - - + + -) (+ + - + -) (+ - +)

Bassoon mm. 34-39

Example 6.30. Hauptstimme Melodic Contour and Rhythmic Material in mm. 34-39.

The bassoon in mm. 34-39 begins and ends with the same CAS subset, (+ - +)

(see Ex. 6.30). Both appearances of rhythmic pattern 1 in mm. 34-36 are accompanied by

the CAS subset (+ - +), while the appearances of rhythmic pattern 2 in m. 36 and mm. 37-

38 are accompanied by the CAS subset (+ - - +). Although the appearances of rhythmic

pattern 3 do not share a similar contour, the last segment in m. 39 features the same

contour fragment as mm. 34-36, (+ - +).

The statement marked Hauptstimme that follows in mm. 40-45 is a two-voice

canon in the oboe and clarinet. The Hauptstimme here features the development of csegs

(1203) and (3120) from the bassoon in mm. 1-7, as shown in Example 6.31. The analysis

of the second cseg in the oboe and clarinet (3120) results from the use of Morris’s

Contour-Reduction Algorithm at a depth of 1. The third segment in the oboe features a


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fusion of cseg (2130) and its inversion, cseg (1203).The third pitch in the segment which

is pruned out to form the cseg (2130) is the first pitch of the cseg (1203). The fourth oboe

segment and third clarinet segment are a composite cseg that is a fusion of (3120) and

(1203). The rest of this canon is constructed in a similar manner to mm. 40-41.


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Bassoon mm. 1-7

Oboe and Clarinet mm.40-45

Example 6.31. Contour Comparison of the Nebenstimme in mm. 1-7 and the Hauptstimme in mm. 40-45.


140

Measures 46-52 feature a return of the row form and rhythmic material from mm.

34-35 in four out of the five voices, as shown in Example 6.32-6.33. The clarinet in mm.

46-47 begins a statement of the same row form as the bassoon in mm. 34-39 that is

finished by the oboe in mm. 47-48, while the horn in mm. 47-48 states a transposition of

the bassoon’s row form in mm. 34-39 that is finished by the oboe in mm. 49-50. In mm.

49-52, the flute and oboe begin a two-voice canon in which the flute part features a

rotation of the bassoon’s row form in mm. 35-39 and the oboe is nearly the transposition

at T5 of the bassoon part in mm. 35-39, as shown in Example 6.32.


141

Bassoon mm. 34-35

Flute, Oboe, Clarinet, and Horn mm. 46-49

Example 6.32. Comparison of the Bassoon in mm. 34-35 and the Flute, Oboe, Clarinet, and Horn in mm. 46-49.


142

Bassoon mm. 34-39

Flute and Oboe mm. 49-52

Example. 6.33. Comparison of the Bassoon in mm. 34-35 and the Flute and Oboe in mm. 49-52.


143

The second episode of the B section is from measure 53 to measure 81. It begins

with the introduction of new rhythmic material in measures 53-60. This statement marked

Hauptstimme is characterized by a distinct rhythmic/melodic contour motive and similar

contour as the clarinet part in mm. 8-14, as shown in Examples 6.34 and 6.36. Although

an IOIseg analysis of this passage suggests little similarity between IOIsegs, an intuitive

approach shows that the first motive in mm. 53-54 undergoes three rhythmic

transformations, as shown in Example 6.35. The first transformation in mm. 55-56

features the first quarter note broken up into eighth notes and a quarter note, the group of

notes that make up the second duration in the segment is shortened by a half note, and the

last duration is shortened by a quarter note. The second transformation in mm. 57-58

features the addition of a quarter note to the group of notes that make up the second

duration in the segment, and the subtraction of a quarter note from the group of notes that

make up the third duration in the segment. The last transformation in mm. 59-60 features

both the insertion of an eighth rest after the first note and the division of the first quarter

note into a pair of eighths, an eighth rest is removed from the group of notes that make up

the second duration, the shortening by a quarter note of the group of notes that make up

the third duration, and the addition of a fourth duration.

Example 6.34. IOIseg Analysis of the Hauptstimme in mm. 55- 60.


144

mm. 53-54

(rhythm from mm. 53-54 with the pitches from mm. 55-56)

mm. 55-56


mm. 57-58


mm. 59-60

Example 6.35. Rhythmic Transformations in mm. 53-60.

The flute’s first and third segments in mm. 53-60 feature the same cseg as the

clarinet’s first segment in mm. 8-9, as shown in Example 6.36. The contour of the flute’s

second segment is the retrograde inversion of the clarinet’s second cseg in mm. 9-10,


145

while the flute’s last segment in mm. 58-59 features the same cseg as the last clarinet

segment in mm. 11-13.

Clarinet mm. 8-14

Flute mm. 53-60

Example 6.36. Contour Comparison of the Hauptstimmen in mm. 8-14 and mm. 53-60.

The next parts marked Hauptstimme in this episode (oboe and horn mm. 61-68)

form a two-voice canon. Although this canon is a perfect rhythmic canon, the melodic

contour is varied in m. 64 of the horn part. The melody for this canon features melodic

contour motives from the bassoon in mm. 1-2, the horn in mm. 3-4, and the bassoon in

mm. 34-35, as shown in Example 6.37. The contour of the oboe and horn’s first segment

in mm. 61-62 share the same CAS as the bassoon’s first segment in mm. 1-2, and the

contour of the oboe’s second segment in mm. 63-64 is the inversion of the horn contour

in mm. 3-4. The third oboe and horn segment features the inversion of the bassoon’s CAS

in m. 34, and the last oboe and horn segment shares the same contour as the bassoon

segment in m. 35.


146

Bassoon mm. 1-2

Horn mm. 3-4

Bassoon mm. 34-35


Example 6.37. Contour Comparison of the Bassoon mm.1-2, Horn mm. 3-4, Bassoon mm. 34-35, and the Oboe and Horn in mm. 61-67.


147

After the two-voice canon, row form and rhythmic material from mm. 53-60

returns in measures 68-75, as shown in Example 6.38. The clarinet in mm. 68-75 states

the inversion of the flute’s row form in mm. 53-60 transposed up a perfect fourth. Like

the row form transformation, the contour of the clarinet’s first two segments is the

inversion of the flute segments in mm. 53-56. The contour of the clarinet’s third segment,

however, is the retrograde inversion of the flute segment in mm. 57-58.

Flute mm. 53-60

Clarinet mm. 68-75

Example 6.38. Contour Comparison of the Hauptstimme in mm. 53-60 and mm. 68-75.

The second A section in this movement is from measure 82 to measure 113. This

section begins with a false recapitulation of the Hauptstimme in mm. 1-7. In this section

there are four statements of the Hauptstimme material in the same order as the first A

section including the swapping of the Hauptstimme and Nebenstimme that occurred in

mm. 15-19. However, the last of the four statements of the Hauptstimme (mm. 104-113)


148

features the exact same pitches and rhythms as mm. 1-7 and is the true recapitulation of

that material.

Conclusion

Like the first two movements, in the third movement of his Wind Quintet, Op. 26,

Schoenberg uses melodic and rhythmic contour to create coherence both within and

between musical sections. His manipulation of contour segments mirrors his

manipulation of twelve-tone rows but is by no means an inevitable consequence of it.

Jack Boss’s twelve-tone analysis of this movement charts the transformation and partition

of the row form in each section. Boss argues that large-scale coherence in this movement

is created through contrast and synthesis on several levels.69 His analysis clearly

demonstrates that the contrast between sections is defined in part by the partitioning of

the row forms used. The A and A’ sections feature three unique partitions of P3, of I3,

and of I8, and rotations of P3 and I3. According to Boss, these three unique partitions of

the row forms produce many hexachords that are members of the set class (0257).70 The

B section on the other hand features a variety of partition techniques including the

layering of different row form rotations that produces subsets of whole-tone scales. Boss

argues that the synthesis that occurs in the second half of the B section connects the

elements of the B section back to the row form that began the A section, P3.

While Schoenberg uses set-class relationships to rationalize his division of row

forms into segments whenever a single row form is expressed by multiple parts,

Schoenberg primarily uses rhythmic and contour relationships to rationalize his division

of row forms into segments whenever a row form is expressed by a single voice. Melodic

69 Boss, Schoenberg’s Twelve-Tone Music, 177. 70 Ibid., 178.


149

and rhythmic contour analysis adds to Boss’s twelve-tone analysis by examining

segments within each statement marked Hauptstimme or Nebenstimme, allowing for

comparisons between segments composed of non-consecutive members of the row form

that represent compositional choices independent of the movement’s serial organization.

Melodic and rhythmic contour analysis demonstrates that the contrast between

sections is defined in part by contrasting motivic material. The A section Hauptstimme in

mm. 1-7 upon which the rest of the A section is based begins and ends with three-note

linear contour motives (low-mid-high or high-mid-low) and is rhythmically characterized

by long durations, while the A section Nebenstimme in mm. 1-7 that accompanies the

Hauptstimme each time is characterized by four-note jagged contour motives and the

rhythmic pattern of three quarter notes followed by a long note. The B section

Hauptstimme, on the other hand, is rhythmically characterized by triplets and features

contour motives that begin with a four-note jagged contour and end with a three-note

linear contour.

Rhythm is the dominant unifying motivic element between the A section’s

Hauptstimme restatements. The IOIseg defining its first segment (horn mm. 1-2) is

preserved in 88% of its restatements in the A, A’, and B sections. The A section

Hauptstimme’s first restatement (clarinet mm. 8-14) features the same rhythm it

expressed in mm. 1-7, and despite the increasing variation in subsequent restatements,

one will still recognize them as restatements of the Hauptstimme in mm 1-7.

Melodic contour, on the other hand, is the dominant unifying motivic element in

A section Nebenstimme restatements. Although the comparison chart in the Appendix

does not indicate a strong cseg or CAS relationship between most of the A section


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Nebenstimme restatements, 76% of the contour segments in the Nebenstimme

restatements share a transformational relationship with its original form (i.e. inversion,

retrograde, fragmentation, or expansion).71 The first A section Nebenstimme restatements

feature inversions or expansions of Nebenstimme contour segments in mm. 1-7. The

Nebenstimme restatements in the second A section mainly feature the cseg or CAS

inversion of the Nebenstimme contour segments in mm. 1-7.

The B section opens with new motivic material in the bassoon Hauptstimme of

mm. 34-39. The dominant unifying motivic elements between the B section Hauptstimme

and its development are the rhythm and ordered pitch interval segments. Although

Schoenberg treats the serial structure and motivic structure as independent elements in

the A sections, the serial synthesis in the second half of the B section that Jack Boss

details in his twelve-tone analysis can also be seen in the melodic contour analysis. After

the development of A section Hauptstimme contour motives in the flute and clarinet

(mm. 53-75), a two-voice canon between the oboe and horn in mm. 61-68 develops

contour motives from the horn and bassoon in mm. 1-4 and the opening contour motive

of the B section (bassoon mm. 34-35). In this case, the integration of contour and twelve-

tone analysis adds greater insight into the extent to which Schoenberg synthesizes

musical elements in the second half of the B section.

71 The appendix in this dissertation charts the six aspects of music discussed in this dissertation (row form, cseg, cas, IOIseg, dseg, and OPIS). The column labeled “segmentation” details the number of pitches in each motive of the Hauptstimme or Nebenstimme. Due to the large size of the charts, the first five columns of the chart are shown on the first page and the last four columns for the same measure numbers appear on the subsequent page.


151

CHAPTER SEVEN

FOURTH MOVEMENT ANALYSIS

In the fourth movement, Schoenberg uses rhythm and melodic contour as the

driving forces for thematic identity and in many places keeps melodic contour invariant

despite row-form transformations and new partitionings of the row form across multiple

voices. The motivic development within each section of the movement illustrates what

Schoenberg argued were the two methods of varying a motive: variation for the sake of

ornamental variety and variation for the sake of allowing new ideas to emerge.72 While

this idea plays a larger role in the piece as a whole, this movement provides an

illustration of both methods. The motivic development within the A and C sections

resembles the first method of varying a motive: the motives undergo several ornamental

variations in which the changes do not grow into new ideas. On the other hand, the

motivic development within the B sections resembles the second method of varying a

motive.

According to Andrew Mead, the form of this movement is a seven-part rondo

(ABACABA) with a coda, as shown in Example 7.1.73 One could also argue that the form

of this movement is a sonata-rondo form, because the return of the thematic material in

the B section starting in m. 226 is a perfect 12th lower than the first statement of this

material starting in m. 43, which in pitch class space is the same transposition level that

typically defines the relationship between the second theme and its recapitulation in a

72 Arnold Schoenberg, Coherence, Counterpoint, Instrumentation, Instruction in Form, ed. Severine Neff, Trans. Severine Neff and Charlotte Cross (Lincoln: University of Nebraska Press, 1993), 38-9. 73 Andrew Mead, “‘Tonal’ Forms in Arnold Schoenberg’s Twelve-Tone Music,” Music Theory Spectrum 9 (Spring 1987): 81-82.


152

traditional sonata-rondo.74 For this dissertation, however, I will use Mead’s analysis of

this movement as a seven-part rondo mainly because the C section features unique

thematic material rather than exhibiting the character of a development section.

Section Measure Numbers A 1-39 B 39-77 A’ 78-115 C 116-186 A’’ 187-225 B’ 226-304 A 305-346 Coda 347-359

Example 7.1. Mead’s Formal Analysis of the Fourth Movement of Schoenberg’s Wind Quintet Op. 26.

In this movement Schoenberg uses a combination of row form, pitch, melodic

contour, and rhythm to create coherence within and between musical sections. He uses

rhythm and melodic contour as the driving force for thematic identity throughout the

movement and in many places manages to keep melodic contour invariant despite row-

form transformations and various arrangements of the row form across multiple voices.

The initial A section in mm. 1-39 unfolds like a fugue. The subject that first

appears in the clarinet in mm. 1-5 eventually appears in all five voices at some level of

transposition and the first two transpositions correspond to the level of a fugal answer. In

addition, the movement begins with a three-voice texture that gradually expands to five

74 While he doesn’t address sonata-rondo form specifically, Joseph Straus discusses different post-tonal realizations of sonata form, analyzing the first movements of Stravinsky’s Octet, Bartok’s Piano Sonata of 1926 and String Quartet no. 2, and Schoenberg’s String Quartet no. 3. He specifically cites the transposition of secondary thematic material in Bartok’s Piano Sonata to be one way of realizing the sonata form model in a post-tonal context. See Joseph Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, Mass.: Harvard University Press, 1990), 112.


153

voices by m. 29. The first two answers (flute mm. 6-10 and bassoon mm. 8-11) state the

same row form and contour segments as the clarinet subject in mm. 1-5; however, the

hexachords of the row form are flipped, as shown in Example 7.2 and 7.3. Although the

first answer features the exact same rhythm as the clarinet subject in mm. 1-5, the second

answer varies in rhythm in m. 11.

Clarinet mm. 1-5

Flute mm. 6-10

Bassoon mm. 8-11

Example 7.2. Row Form Comparison of the Hauptstimmen in mm. 1-5 and 6-10, and the Nebenstimme in mm. 8-11.

L

L

L


154

Clarinet mm. 1-5

Flute mm. 6-10

Bassoon mm. 8-11

Example 7.3. Contour Comparison of the Hauptstimmen in mm. 1-5 and 6-10, and the Nebenstimme in mm. 8-11.

The next four subject statements (oboe and clarinet in mm. 18-22 and flute and

horn in mm. 29-33) use the retrograde of the opening subject, as shown in Example 7.4.

The subject statement in mm. 34-38 uses the same row form as the opening subject in

mm. 1-5, while the answer in mm. 34-39 states the inversion of that row form.


155

Clarinet mm. 1-5




156

Flute and Clarinet mm. 34-39

* The fourth pitch in the row is in the bassoon in m. 35. Example 7.4. Row Form Comparison of the Hauptstimmen and Nebenstimmen in mm. 1-5, 18-22, 29-33, and 34-39. Clarinet mm. 1-5


Example 7.5. Contour Comparison of the Hauptstimmen and Nebenstimmen in mm. 1-5 and 18-22.

Although the oboe and clarinet statements in mm. 18-22 use the retrograde of the

opening row form in mm. 1-5, they do not share the same overall melodic contour as the


157

clarinet subject, as shown in Example 7.5. However, in addition to these larger groupings

of 4, 6, and 2 pcs each, the subject can be further subdivided into dyad pairs reinforced by

the slurs and articulations, as shown in Example 7.6. All but the last of the oboe and

clarinet’s dyad pairs in mm. 18-22 share the same contour as the clarinet’s dyad pairs in

mm. 1-5.

Clarinet in mm. 1-5

Oboe and Clarinet in mm. 18-22


In addition to the fugue-like unfolding of the subject and answer statements in the

initial A section, there is a countermelody that is stated in between subject statements.75

Example 7.7 charts the alternation between subject and countermelody in the initial A

section. The first two returns of the A section also share this alternation between the

subject and countermelody. The clarinet and bassoon imitative exchange in mm. 23-28

75 I refer to the horn melody in mm. 12-17 as a countermelody rather than a countersubject, because it does not accompany the subject.


158

features the same row form as the horn in mm. 12-17 except the hexachords are flipped in

the clarinet part, as shown in Example 7.8. Rhythmically, they share the same rhythm as

the horn in mm. 12-17 for the first three measures.

Opening A Section Theme Measure # subject 1-11 countermelody 12-17 subject 18-22 countermelody 23-28 subject 29-39

Example 7.7. Thematic Structure in mm. 1-39.


159

Horn mm. 12-17

Flute and Bassoon mm. 23-28

Example 7.8. Comparison of the Hauptstimmen in mm. 12-17 and 23-28.

The first return of the A section in mm. 78-115 does not begin by reintroducing

the opening clarinet statement; instead, it begins by continuing the development of the

opening subject that occurs in mm. 18-28 of the initial A section, as shown in Example

7.9. The horn part in mm. 78-82 states the same row form that the oboe stated in mm. 18-

28, and the horn and bassoon imitative exchange in mm. 78-82 features the exact same

rhythm as the oboe and clarinet in mm. 18-22 for the first four measures, though

accompanied by varied melodic contours. The horn and bassoon in mm. 78-82 exhibit a

different relationship than the oboe and clarinet in mm. 18-22: the bassoon part in mm.


160

78-82 is an inverted imitation of the accompanying horn part, while the clarinet in mm.

18-22 imitated the oboe in those measures with the same row form, but with its second

hexachord presented before the first. To complement these pitch class relationships, the

comes voice of the latter passage answers the dux voice with inverted contour segments,

while the comes voice of the former passage answers the dux voice with identical contour

segments.


Horn and Bassoon mm. 78-82


Given the return of the same texture, rhythm, and row form in the lead voice of

the latter passage, one would expect the same contour, but instead Schoenberg varies the

contour by having the horn repeat the G♭ on the downbeat of m. 89, as shown in Example


161

7.10. The notes in brackets in Example 7.10 represent pitches that are pruned out using

the revised contour reduction algorithm. This pruning reveals that the prime contour of

the horn’s second segment in mm. 79-80, (201), is the retrograde of the prime contour of

the oboe’s second segment in mm. 19-20, (120). The contour relationships between the

segments both before and after are more obvious: the contour of the horn’s first segment

is simply a truncated form of the oboe’s first segment, and the third segments in each part

are the same. These contour relationships are strengthened by the fact that the horn’s first

two ordered pitch intervals are the same as the oboe’s , -9 and -2 (see Ex. 7.10). While

the horn’s third segment, mm. 81-82, shares the same ordered pitch intervals as the

oboe’s third segment in mm. 20-22, the oboe’s +13 in m. 20 is answered by its inversion

by the horn in mm. 79-80, -13.


162

Oboe mm. 18-22


* The notes in brackets represent pitches that are pruned out using the revised contour reduction algorithm. Example 7.10. Ordered Pitch Interval Comparison of the Hauptstimmen in mm. 18-22 and 78-82. Like the previous imitative exchange in mm. 77-82, the clarinet in mm. 83-87

imitates in inversion the flute part it accompanies. The imitative exchange between the

flute and clarinet in mm. 83-87 shares the exact same rhythm as the oboe in mm. 18-22

for the first three measures, and the flute states the same row form as the oboe in 18-22

except the hexachords are flipped, as shown in Example 7.11. Even though the

hexachords are flipped, the flute features only one segment that has a different contour

than the corresponding oboe segment in mm. 18-22, as shown in Example 7.12. These


163

contour relationships are complemented by the fact that the flute’s first segment features

two ordered pitch intervals in common with the oboe’s first segment, -2 and-10, and the

flute’s third segment features the same ordered pitch intervals, +10 -14 +8, as the

corresponding oboe segment, as shown in Example 7.13.

Oboe in mm. 18-22




164


Flute and Clarinet 83-87



165

Oboe mm. 18-22



In mm. 88-93 Schoenberg continues the pattern of casting the comes voice in

inversion and using rhythm as a unifying musical characteristic, as shown in Example

7.14. The countermelody that first appeared in mm. 12-17 is developed in mm. 88-93 in a

similar fashion to how the oboe answer was developed in mm. 77-87. The oboe part in

mm. 88-93 shares the exact same rhythm and states the retrograde of the row form stated

in the horn in mm. 12-17, while the accompanying bassoon part shares the same rhythm

as the horn in mm. 12-17 for the first two measures.


166

Horn mm. 12-17


Example 7.14. Row Form Comparison of the Hauptstimmen in mm. 12-17 and mm. 88-93.

Although the row form stated by the oboe in mm. 88-93 is the retrograde of the

row form stated by the horn in mm. 12-17, the oboe’s contour segments do not share that

same relationship with the horn’s contour segments, as shown in Example 7.15. Two of

the oboe segments share the same contour as the horn’s corresponding segments in mm.

12-17.


167

Horn mm. 12-17


Example 7.15. Contour Comparison of the Hauptstimmen in mm. 12-17 and mm. 88-93.

The first return of the A section continues with another imitative exchange

developing the oboe and clarinet parts in mm. 18-22 and one developing the horn part in

mm. 12-17. At this point Schoenberg ends the pattern of casting the accompanying comes

voice in inversion, and instead he returns to having the dux and comes voices state the

same row form with the hexachords flipped in the comes voice, as shown in Example

7.16. The clarinet in mm. 94-98 states the exact same rhythm as the oboe in mm. 18-22,

and the accompanying horn part features nearly the exact same rhythm as the clarinet in

mm. 18-22: the clarinet’s last eighth note in m. 20 is answered by the horn’s sixteenth


168

note and sixteenth rest in m. 96. Also, in mm. 94-98 the clarinet states the inversion of

the row form stated in the oboe in mm. 18-22.



Example 7.16. Row Form Comparison of the Hauptstimmen and Nebenstimmen in mm. 18-22 and 94-98.


169

The imitative exchange between the clarinet and horn in mm. 94-98 mimics the

imitative relationship between the oboe and clarinet in mm. 18-22, as shown in Example

7.17. The clarinet and horn parts begin with the same CAS as the oboe and clarinet parts

in mm. 18-22, and all but one of the two-pitch segments in mm. 95-98 feature the same

contour as the oboe segments in mm. 18-22.




In mm. 99-104 the countermelody that first appeared in the horn in mm. 12-17 is

developed. The imitative exchange between the bassoon continues the pattern of having

both voices state the same row form and contour, but the dux voice has the hexachords of


170

the row form flipped, as shown in Example 7.18. The bassoon in mm. 99-104 states the

retrograde of the row form stated by the horn in mm. 12-17 except the hexachords are

flipped. The flute and bassoon imitative exchange in mm. 99-104 features almost the

exact same rhythm as the horn in mm. 12-17: the horn’s 16th note A and 32nd note rest in

m. 14 is answered by the flute’s dotted 16th note F♯ in m. 101 and the flute and bassoon’s

last dseg differ, as shown in Example 7.19. As Example 7.20 illustrates, the row form and

rhythmic relationships are complemented by the fact that two of the four bassoon

segments in mm. 99-104 share the same contour as the corresponding horn segments in

mm. 12-17, while the flute’s last segment in mm. 103-104 has the contour as the horn’s

last segment in mm. 16-17.


171

Horn mm. 12-17

Flute and Bassoon in mm. 99-104



172

Horn mm. 12-17


Example 7.19. Dseg Comparison of the Hauptstimmen in mm. 12-17 and 99-104.


173

Horn mm. 12-17


Example 7.20. Contour Comparison of the Hauptstimmen in mm. 12-17 and 99-104. The imitative exchange between the flute and oboe in mm. 105-109 develops the

music from mm. 18-22, while the imitative exchange between the flute and horn in mm.

110-115 that ends the second A section features contour segments from the music in mm.

1-5 and mm. 18-22. The flute and oboe parts in mm. 105-109 features the exact same

rhythm as the oboe and clarinet in mm. 18-22 for the first three measures and states the

inversion of the row form stated in the oboe and clarinet in mm 18-22, as shown in

Example 7.21. The imitative relationship between the flute and oboe in mm. 105-109 is


174

the same as the relationship between the oboe and clarinet in mm. 18-22 except the dux

voice has the hexachords of the row form flipped.


Flute and Oboe in mm. 105-109

Example 7.21. Row Form Comparison of the Hauptstimmen and Nebenstimmen in mm.18-22 and 105-109.


175

Although the row form stated in the flute in mm. 105-109 is the inversion of the

oboe’s row form in mm. 18-22, only one of the flute’s segments, mm. 107-108, features

the contour inversion of the corresponding oboe segment, as shown in Example 7.22. Of

the other flute segments, the flute’s first segment shares the same contour as the oboe’s

first segment in mm. 18-19, while the contour of the flute’s two-pitch segments in mm.

106-108 are the inversion of the oboe’s corresponding segments.





176

Finally, the imitative exchange between the flute and the horn in mm. 110-115

begins with the flute repeating the opening clarinet segment in mm. 1-2 up the octave, as

shown in Example 7.23. The flute in mm. 111-115 continues through the rest of the row

form but varies in rhythm to the flute in mm. 1-5. The horn in mm. 111-115 features the

inversion of the accompanying flute contour segments, as shown in Example 7.24.

Clarinet mm. 1-5

Flute mm. 110-115

Example 7.23. Pitch Comparison of the Hauptstimmen in mm. 1-5 and 110-115.


177

Clarinet mm. 1-5



Like the first return of the A section, the second return of the A section in mm.

187-225 features the same alternation between subject and countermelody found in the

opening A section (mm. 1-38). The imitative exchange between the oboe and clarinet that

opens the second return of the A section develops the oboe part in mm. 18-22, as shown

in Example 7.25. Those numbers in parentheses in Example 7.25 represent pitch classes

of the row form found in the flute or bassoon. The oboe in mm. 187-191 states the same

row form as the oboe in mm. 18-22 (minus the pitches being sustained in the flute and


178

bassoon parts), while the clarinet in mm. 187-191 states the inversion of the row from

stated in the oboe in mm. 18-22 (again minus those pitches being sustained in the flute

and bassoon parts). The oboe and clarinet parts in mm. 187-191 features two rhythmic

transformations of the oboe rhythm in mm. 18-22 (mm. 187-188 and mm. 189-190), as

shown in Example 7.26. The squeezed segments in this passage are the first beat of m.

188 and the first beat of m. 190, though it is the IOIs and not the note durations

themselves that are transformed. Squeeze transformations occur when one or more

durations in a segment’s first half are shortened while one or more pitches that follow are

expanded to preserve the metric placement of the beginning and end of the segment.76

The transformation of m. 21 into m. 190 is not technically a squeeze transformation

because squeeze transformations do not add or subtract notes and a note is added in m.

190. The squeeze transformation in mm. 187-188 is a defining rhythmic characteristic of

all the statements of the subject in this return of the A section.

76 Jason Yust, Organized Time (New York: Oxford University Press, 2018), 16-19.


179

Oboe and Clarinet in mm. 18-22

Flute, Oboe, Clarinet, and Bassoon in mm. 187-191



180

Squeeze in m. 188 Squeeze-like change in mm. 189-190 Oboe m. 19 Oboe m. 21

Rhythm from Oboe m. 19 Rhythm from Oboe m. 21 Pitches from Oboe m. 188 Pitches from Oboe m. 190

Oboe m. 188. 32nd rest replaced by 32nd note Pitches from Oboe m. 190

Oboe m. 190

Example 7.26. Squeeze Transformations in m. 188 and mm. 189-190.

Given the fact that some members of the row form are not present in the oboe in

mm. 187-191, one would not expect there to be similarities between the melodic contour

in the oboe in mm. 18-22 and mm. 187-191, however, all the oboe contour segments in

mm. 187-191 relate to the corresponding oboe segments in mm. 18-22, as shown in

Example 7.27. The oboe’s first segment has the same contour as the corresponding oboe

segment in mm. 18-19, while the oboe’s two-pitch segments in mm. 188-190 have the

same contour as the corresponding oboe segments in mm. 19-22.


181

Oboe mm. 18-22



The development of the subject continues in mm. 192-197, as shown in Example

7.28. The numbers in parenthesis in Example 7.28 represent members of the row form

that are stated in other voices. The horn and bassoon imitative exchange in mm. 192-197

states the retrograde inversion of the row form stated by the clarinet in mm. 1-5 except

with the hexachords flipped, and the horn begins on the second pitch of the hexachord.

The horn and bassoon parts in mm. 192-197 features almost the same rhythm as the

clarinet in mm. 1-5: the clarinet’s eighth note D and eighth rest in m. 3 are answered by

the bassoon’s quarter note B♭ in m. 196, the clarinet’s dotted eighth F♯ in m. 4 is

answered by the bassoon’s eighth note D in m. 197, and the horn and bassoon’s last dsegs

differ, as shown in Example 7.29. It is important to note that this imitative exchange is

the first time the subject is shifted metrically so that the upbeat figures are placed on the

beat, eliminating the syncopation in the basic idea and its repetition.


182

Clarinet mm. 1-5

Horn and Bassoon in mm. 192-197



183

Clarinet mm. 1-5


Example 7.29. Dseg Comparison of the Hauptstimmen and Nebenstimmen in mm. 18-22 and 192-197.

Even though the horn and bassoon parts in mm. 192-197 and the clarinet in mm.

1-5 do not state the same row form, two of the three horn segments in mm. 192-197

feature the same contour as the corresponding clarinet segments in mm. 1-5, while all

three of the accompanying bassoon segments feature the same contour as the

corresponding clarinet segments in mm. 1-5, as shown in Example 7.30.


184

Clarinet mm. 1-5


Example 7.30. Contour Comparison of the Hauptstimmen and Nebenstimmen in mm. 18-22 and 192-197. The next seven measures of music develop the countermelody that is first stated

by the horn in mm. 12-17. The flute in mm. 198-203 features the exact same rhythm as

the horn in mm. 12-17 and features the inversion of the row form stated by the horn in

mm. 12-17, as shown in Example 7.31. As one would expect, the flute in mm. 198-199

also features the pitch space inversion of the horn part in mm. 12-13. The accompanying

horn part in mm. 198-203 features the exact same rhythm as the horn in mm 12-17 for the

first three measures and states the same row form as the flute in mm. 198-203 except the

hexachords are flipped. Despite the hexachords being flipped, the horn in mm 198-203


185

features the same melodic contour as the flute in those measures, as shown in Example

7.32.

Horn mm. 12-17

Flute mm. 198-203



186

Horn mm. 12-17



The imitative exchange between the bassoon and oboe in mm. 204-208 returns to

the development of the subject first stated by the clarinet in mm. 1-5, as shown in

Example 7.33. The bassoon and oboe parts in mm. 204-208 feature almost the same

rhythm as the clarinet in mm. 1-5: the characteristic squeeze transformation illustrated in

Ex. 7.26 occurs in m. 205 and the bassoon’s tied A in mm. 207-208 is extended by a

sixteenth note. While the bassoon in mm. 204-208 states the retrograde inversion of the

row form stated by the clarinet in mm. 1-5, the accompanying oboe parts states the


187

inversion of the bassoon’s row form in those measures (see Ex. 7.33). Although the

bassoon in mm. 204-208 states the retrograde inversion of the row form stated by the

clarinet in mm. 1-5, three of the bassoon’s segments have the same contour as the

clarinet’s corresponding contour segments in mm. 1-5, while the bassoon’s second

segment in m. 205 features the contour inversion of the clarinet’s dyad in m. 2, as shown

in Example 7.34. The cseg of the oboe’s first segment in mm. 204-205 and the clarinet’s

first segment in mm. 1-2 are related by inversion, while the CAS of two clarinet and oboe

two-pitch segments in mm. 2-4 and mm. 206-208 are also related by inversion.

Clarinet mm. 1-5

Bassoon and Oboe in mm. 204-208

Example 7.33. Row Form Comparison of the Clarinet in mm. 1-5 and the Bassoon and Oboe in mm. 204-208.


188

Clarinet mm. 1-5

Bassoon and Oboe mm. 204-208

Example 7.34. Contour Comparison of the Clarinet in mm. 1-5 and the Bassoon and Oboe in mm. 204-208.

The contour relationships between the bassoon in mm. 204-208 and the clarinet in

mm. 1-5 are strengthened by three ordered pitch intervals they have in common, as

shown in Example 7.35. The clarinet’s +2 in m. 1 is answered by its octave compound,

+14, in the bassoon, the clarinet’s +14 in mm. 1-2 is answered by the bassoon’s +14 in

mm. 204-205, and the clarinet’s +14 in mm. 3-4 is answered by the bassoon’s +14 in

mm. 207-208.


189

Clarinet mm. 1-5

Bassoon mm. 204-208

Example 7.35. Ordered Pitch Interval Comparison of the Hauptstimmen in mm. 1-5 and 204-208. In mm. 209- 214 the imitative exchange between the clarinet and bassoon

develops the countermelody first stated by the horn in mm. 12-17, as shown in Example

7.36. The clarinet in mm. 209-211 states the inversion of the row form and melodic

contour stated by the horn in mm. 12-14, while the first segment of the accompanying

bassoon part states the inversion of the clarinet’s first contour segment. Rhythmically the

clarinet and bassoon parts in mm. 209-214 feature almost the same dsegs as the horn in

mm. 12-17: the horn’s tied E♭ in m. 15-16 is answered by the clarinet’s quarter note D♯,

the horn’s eighth note F♯ and E in m. 12 are answered by the bassoon’s sixteenth note G♭

and A♭ in m. 210, and the bassoon’s last dseg also differs, as shown in Example 7.37. The

bassoon also states the retrograde of the row form stated by the clarinet part it

accompanies, except the bassoon begins on the fourth member of the row form. Although

the row forms stated by the clarinet and bassoon in mm. 209-214 are related by

retrograde, the bassoon’s first segment shares the same cseg and the bassoon’s third

segment shares the same CAS as the corresponding clarinet contour segments in those

measures, as shown in Example 7.38


190

Horn mm. 12-17




191

Horn mm. 12-17


Example 7.37. IOIseg Comparison of the Hauptstimmen in mm. 12-17 and 209-214.


192

Horn mm. 12-17



The last eleven measures of the third A section develops the oboe part in mm. 18-

22. The oboe in mm. 214-219 begins with an ascending scalar figure before the subject

itself is played. The scalar figure states an inversion of the clarinet’s row form in 1-5,

however when the subject enters, the oboe is stating the retrograde inversion of the

clarinet’s row form in mm. 1-5, as shown in Example 7.39. Rhythmically, the oboe’s

subject development in mm. 215-219 states almost the same rhythm stated by the oboe in

mm. 18-22: the characteristic squeeze transformation illustrated in Ex. 7.26 occurs in m.

217 and the oboe’s &. ( ) rhythmic figure in m. 21 is answered by the & !" rhythmic figure

in the oboe m. 219. These row form and rhythmic relationships are complemented by the


193

fact that the oboe’s segment in m. 216 features the same contour as the oboe’s first

segment in mm. 18-19, and the oboe’s third and fourth two-pitch segments in mm. 217-

219 feature the same contour as the oboe’s corresponding segments in mm. 20-21, as

shown in Example 7.40. Furthermore, the oboe’s segment in mm. 216-217 shares two

ordered pitch intervals in common with the oboe in mm. 18-19, -2 and +10, and the

oboe’s third dyad in mm. 218-219 shares the same ordered pitch interval as the oboe in

m. 21, as shown in Example 7.41.

Oboe mm. 18-22

Oboe mm. 214-219



194

Oboe mm. 18-22

Oboe mm. 214-219

Example 7.40. Contour Comparison of the Hauptstimmen in mm. 18-22 and 214-219. Oboe mm. 18-22

Oboe mm. 214-219


The horn and piccolo imitative exchange in mm. 217-225 feature the same row

form stated by the clarinet in mm. 1-5, as shown in Example 7.42. The piccolo and horn

parts in mm. 217-225 features almost the same dsegs as the clarinet in mm. 1-5: the

clarinet’s dotted eighth F♯ in m. 4 is answered by the horn’s eighth note A♭ in m. 220 and

the piccolo and horn’s last dsegs also differ, as shown in Example 7.43. It is interesting to


195

note that although the horn and piccolo parts in mm. 217-225 share the same row form as

the clarinet in mm. 1-5, they do not share the same melodic contour, as shown in

Example. 7.44. Also, the piccolo’s first segment and the Horn’s four note segment

beginning on the second beat of m. 219 share the same cseg and rhythm, as well as the

same first and last ordered pitch intervals.

Clarinet mm. 1-5




196

Clarinet mm. 1-5


Example 7.43. Dseg Comparison of the Hauptstimmen and Nebenstimmen in mm. 18-22 and 217-225.


197

Clarinet mm. 1-5


Example 7.44. Comparison of the Hauptstimmen and Nebenstimmen in mm. 18-22 and 217-225.

The final return of the A section in mm. 305-346 is not characterized by the

alternation between the subject and countermelody that characterized the previous A

sections. Instead, the seven measures leading up to the final A section features the return

of the opening motives from the first and second movements at pitch, as shown in

Example 7.45. The development of opening motives from previous movements continues

in mm. 305-312 with the layering of the opening motive from the third movement and the


198

countermelody from mm. 12-17 of the fourth movement, as shown in Examples 7.46 and

7.47. While the flute’s first segment in mm. 298-299 is the literal repetition of the

opening two measures of the first movement, the flute’s second segment in mm. 300-301

features the same pitches and the diminution of the rhythm of the opening two measures

of the second movement (see Ex. 7.45). The flute’s final segment in mm. 303-304 is the

opening two measures of the first movement transposed down the perfect fourth, while

the clarinet’s second segment in mm. 303-304 is the opening two measures of the second

movement down an octave.

mm. 1-2 of 1st Movement mm. 1-2 of 2nd Movement

mm. 298-304 of the Fourth Movement

Example 7.45. Comparison of mm 1-2 of the First Movement, mm. 1-2 of the Second Movement, and mm. 298-304 of the Fourth Movement.

L


199

The first eight measures of the final return of the A section (mm. 305-312)

features the layering of the Hauptstimme’s opening four notes in the third movement with

the countermelody first stated by the horn in m. 12, as shown in Example 7.46. The oboe

in mm. 305-308 features the same pitch classes and contour as the horn’s opening two

measures in the third movement, while the rhythm of the oboe part is related to the horn’s

opening two measures of the third movement by diminution. The horn in mm. 309-312 is

the pitch class inversion of the opening two measures of the third movement, though not

its inversion in pitch space: if the horn’s A♭ in mm. 311-312 was an octave higher, than

the horn’s ordered pitch interval segment would be identical to the opening two measures

of the third movement, < +3 +2 -7 >, as shown in Example 7.47.


200

mm. 1-2 of the Third Movement Horn m. 12 (4th Movement)

Flute, Oboe, and Clarinet mm. 305-308


Example 7.46. Comparison of mm. 1-2 of the Third Movement and m. 12 and mm. 305-312 of the Fourth Movement.


201

mm. 1-2 of the Third Movement

Horn mm. 309-312 Horn part recomposed to show potential pitch space inversion

Example 7.47. Ordered Pitch Interval Comparison of mm. 1-2 of the Third Movement and Horn in mm. 309-312.

The imitative exchange between the flute and clarinet in mm. 305-308 states the

same rhythm as the horn in m. 12 (see Ex. 7.46). Although members of the row form in

mm. 305-308 are scattered throughout all three voices, two of the three flute segments in

mm. 305-308 are related to the horn’s contour in m. 12: the flute’s first segment in mm.

305-306 shares the same contour and the flute’s second segment in mm. 306-307 features

the inversion of the horn’s contour segment in m. 12 (see Ex.7. 46). This contour

relationship is strengthened by the fact that the flute’s second segment shares two ordered

pitch intervals in common with the horn’s segment in m. 12: the horn’s +3 in m. 12 is

answered by the flute’s -3. The clarinet’s first segment in m. 306 features the inversion of

the horn’s contour in m. 12, as well as the inversion of the horn’s first and third ordered

pitch interval in m. 12. Finally, the oboe and bassoon parts in mm. 309-312 state the row

form and ordered pitch interval inversion of the clarinet and flute parts in mm. 305-308

respectively.


202

The next sixteen measures continue the development of the countermelody first

stated by the horn in mm. 12-17 by imitating a fragment of the horn part in m. 12, as

shown in Example 7.48. The flute and oboe’s first segments in mm. 313-317 feature the

same ordered pitch interval and rhythm as the horn fragment in m. 12, while the bassoon

and horn’s first segments in mm. 313-316 feature the same rhythm and the inversion of

the horn’s contour in m. 12. The rest of the bracketed segments in mm. 313-320 are either

a repetition or the inversion of the ordered pitch interval and/or contour of the horn

fragment in m. 12.


203

Horn mm. 12

mm. 313-320

Example 7.48. Ordered Pitch Interval Comparison of Horn Fragment in m. 12 and mm. 313-320.


204

The bassoon part that begins the imitative exchange in mm. 321-328 features the

same rhythm as the horn in m. 14, as shown in Example 7.49. The accompanying flute

part in those measures varies this rhythm by shortening the quarter note to an eighth note,

and the subsequent imitative entries feature both the original and varied rhythmic pattern.

Most of the imitative entries in mm. 321-328 feature the same contour as the horn in m.

14 or its inversion. These contour relationships are strengthened by the fact that the

starting ordered pitch-class interval for most of the segments in mm. 321-328, is either

10, the horn’s first ordered pitch-class interval in m. 14, or 2, the inversion of that

interval, as shown in Example 7.50.


205

Horn m. 14

mm. 321-328

Example 7.49. Contour Comparison of Horn in mm. 14 and mm. 321-328.


206

Horn m. 14

mm. 321-328

Example 7.50. Ordered Pitch-Class Interval Comparison of Horn in m. 14 and mm. 321-328.


207

Although there are no more statements marked Hauptstimme in this return of the

A section, the first development of the subject’s first six notes stated by the clarinet in

mm. 1-2 occurs in mm. 335-339, as shown in Example 7.51. The brackets in m. 337 of

the example indicate pitches that have been pruned out using the revised contour

reduction algorithm. All three flute segments and the oboe’s last segment have the same

CAS as the Oboe in mm. 18-19, while the oboe’s first and bassoon’s third segments in

mm. 335-336 have the same cseg as the oboe’s first segment in mm. 18-19. The clarinet’s

first and second segments, the oboe’s second segment, and the bassoon’s first segment in

mm. 335-336 have the same cseg as the clarinet in mm. 1-2. The imitative exchange

between the flute, oboe, clarinet, and bassoon in mm. 335-339 features several

transformations of the clarinet’s rhythm in mm 1-2: the first transformation consists of

the last eighth note in m. 1 being broken up into two sixteenth notes in m. 337 of the flute

and oboe parts, while the second transformation consists of the second eighth note in m. 1

being broken up into two sixteenth notes and the eight rest in m. 1 being replaced by an

eighth note in m. 338 of the flute and oboe parts, as shown in Example 7.52.


208

Clarinet mm. 1-2

Oboe mm. 18-19

Flute, Oboe, Clarinet, and Bassoon mm. 335-339

Example 7.51. Comparison of the Hauptstimmen in mm. 1-2 and 18-19 and the Flute, Oboe, Clarinet, and Bassoon in mm. 335-339.


209

First Transformation Second Transformation Clarinet m. 1 Clarinet m. 1

Pitches of Clarinet in m. 1 Pitches of Clarinet in m. 1 Rhythm of Flute in m. 337 Rhythm of Flute in m. 338

Flute m. 336-337 Flute mm. 337-338

Example 7.52. Rhythmic Transformations between the Clarinet mm. 1-2 and the Flute in mm. 336-337 and mm. 337-338.

As shown in Example 7.53, the initial B section in mm. 39-77 features the

introduction of a primary theme and a subordinate theme, the development of the

subordinate theme, and the development of the clarinet’s opening motive in mm. 1-2. The

lack of repeated notes in the primary theme of this section rhythmically sets it apart from

the A section’s subject and countersubject, while the subordinate theme is characterized

by its opening four-note ascent as shown in Example 7.54.


210

Thematic Material Measure #’s Primary Theme mm. 39-57 Subordinate theme mm. 58-60 Development of Subordinate theme

mm. 61-74

A section Subject mm. 75-76 Example 7.53. Thematic Structure of the B section in mm. 39-77.

Clarinet in mm. 43-48

Horn in mm. 58-60

Example 7.54. The Clarinet in mm. 43-48 and the Horn in mm. 58-60.

The subordinate theme in mm. 58-60 is developed throughout mm. 61-74. The

flute in mm. 61-63 features the horn’s ascending four-note motive and the retrograde of

horn’s row form in mm. 58-60, as shown in Example 7.55. Rhythmically, the flute

repeats the horn’s rhythm in m. 58 twice in mm. 61-62 and the flute part in m. 63 features

the same IOIseg as the horn in m. 60, as shown in Example 7.56.


211

Horn mm. 58-60

Flute mm. 61-63

Example 7.55. Row Form Comparison of the Hauptstimmen in mm. 58-60 and 61-63. (Pitch classes in parenthesis occur in accompanying parts not shown)

Horn mm. 58-60

Flute mm. 61-63

Example 7.56. IOIseg Comparison of the Hauptstimmen in mm. 58-60 and 61-63.

The next two statements marked Hauptstimme in the oboe and clarinet feature the

inversion of the flute’s ordered pitch intervals in m. 63, as shown in Example 7.57. The


212

oboe in mm. 64-65 also features the retrograde of the flute’s pitches in m. 64 down an

octave.

Horn m. 63

Clarinet mm. 64-65 Oboe mm. 65-66

Example 7.57. Comparison of Hauptstimmen in mm. 63-66.

The next eight measures continue the development of the subordinate theme and

the flute motive in m. 63. The imitative exchange between the flute, oboe, and clarinet in

mm. 68-71 features the horn’s contour in m. 58 and the inversion of the flute contour in

m. 63, as shown in Example 7.58. The bassoon and clarinet parts in mm. 72-74 feature

the same contour as the horn in m. 58 and the flute in m 63.


213

Horn m. 58 Flute m. 63

Flute, Oboe, and Clarinet mm. 68-71

Bassoon mm. 72-73

Clarinet mm. 73-74

Example 7.58. Contour Comparison of Hauptstimmen in m. 58, 63, and mm. 68-74.

Like the A section, the C section features the alternation between a primary theme

and a subordinate theme, as shown in Example 7.59. The primary is stated three times,

first as a solo statement by the bassoon, then as a two-voice imitative exchange between

the oboe and clarinet, and finally as a three-voice imitative exchange between the oboe,


214

horn, and bassoon. The subordinate theme is stated three times as a two-voice imitative

exchange and once as a five-voice imitative exchange.

Theme Measure # Primary Theme

mm. 116-124

Subordinate Theme

mm. 125-130

Primary Theme

mm. 131-140

Subordinate Theme

mm. 141-149

Subordinate Theme

mm. 155-160

Primary Theme

mm. 159-172

Subordinate Theme

mm. 174-179

Example 7.59. Thematic Structure in mm. 116-179.

The second statement of the primary theme in mm. 131-140 features the

retrograde inversion of bassoon’s row form in mm. 116-124 at a transposition of T4, as

shown in Example 7.60. While the row form in the bassoon is segmented so that it

alternates between three members in the bassoon and six members in the other parts, the

row form in the oboe and clarinet alternates between three members in each the oboe and

clarinet parts and then three members in other parts. Rhythmically, the oboe features the

same rhythm as the bassoon and the clarinet rhythm is related to the bassoon rhythm

through diminution.


215

Bassoon mm. 116-124


Example 7.60. Row Form Comparison of the Hauptstimmen and Nebenstimmen in mm.116-124, and 131-140.

(Pitch classes in parenthesis occur in accompanying parts not shown)

Although their row forms are segmented differently, the oboe and clarinet parts

feature three of the same csegs as the bassoon part in m. 116-124, as shown in Example

7.61. The last two oboe csegs and the clarinet’ fourth cseg are the retrograde of the

bassoon’s last cseg and the clarinet’s last cseg is the inversion of the accompanying oboe

cseg in that measure.


216

Bassoon mm. 116-124


Example 7.61. Contour Comparison of the Hauptstimmen and Nebenstimmen in mm.116-124 and 131-140.

The imitative exchange between the clarinet, horn, and bassoon in mm. 159-172

also features the retrograde inversion of the bassoon’s row form, however the exchange

begins on the fourth member of the row form, as shown in Example 7.62. Rhythmically,

the clarinet, horn, and bassoon feature almost the same rhythm as the bassoon in mm.

116-124: the half notes at the end of the bassoon’s three note segments are answered by

two half notes tied together in mm. 159-172.


217

Bassoon mm. 116-124

Clarinet, Horn, and Bassoon in mm. 159-172

Example 7.62. Row Form Comparison of Hauptstimmen and Nebenstimmen in mm. 116-124 and 159-172.


218

The first three clarinet, horn, and bassoon csegs are the same as the corresponding

bassoon csegs in mm. 116-124, as shown in Example 7.63. The clarinet, horn, and

bassoon’s last csegs are the retrograde of the bassoon’s last cseg in mm. 116-124.

Bassoon mm. 116-124

Oboe, Horn, and Bassoon in mm. 159-172

Example 7.63. Contour Comparison of the Hauptstimmen and Nebenstimmen in mm.116-124 and 159-172.


219

In between the primary theme statements in this section are statements of the

subordinate theme. While all of the subordinate theme statements feature the same

rhythm, their row form and contour relationships vary. The oboe and clarinet imitative

exchange in mm. 141-146 features the transposition at T7 of the flute and horn’s row

form in mm. 125-130, as shown in Example 7.64. Not only do the oboe and clarinet parts

feature the transposition of the flute and horn parts in pitch space, but the oboe and

clarinet parts also preserve the imitative relationship between the flute and horn parts.



Example 7.64. Row Form Comparison of Hauptstimmen in mm. 125-130 and 141-149. The imitative exchange between the oboe and horn in mm. 155-160 features the

inversion of the flute and horn’s row form in mm. 125-130, as shown in Example 7.65.

Although the oboe and horn imitative exchange begin of the fourth member of the row


220

form and do not feature the same ordered pitch interval content as the flute and horn, they

do share the same contour, as shown in Example 7.66.



Example 7.65. Row Form Comparison of Hauptstimmen in mm. 125-130, 155-160, and 174-178.


221



Example 7.66. Contour Comparison of Hauptstimmen in mm. 125-130 and 155-160. The imitative exchange between the oboe, clarinet, horn, and bassoon in mm.

174-178 features the retrograde inversion at T6 of the flute and horn row form in mm.

125-130, as shown in Example 7.67. Each voice in this exchange enters on a different

member of the row form: the bassoon on the tenth member, the horn on the seventh

member, the oboe on the fourth member, and the clarinet on the first member.

Rhythmically, the bassoon, horn, clarinet, and oboe feature the same rhythm as the horn

in mm. 125-130. The flute part in mm. 176-179 states the transposition at T1 of the flute

and horn’s row form in mm. 125-130.


222


Flute, Oboe, Clarinet, Horn, and Bassoon mm. 173-179.

Example 7.67. Row Form Comparison of Hauptstimmen in mm. 125-130 and 174-178. Although the imitative exchange in mm. 173-179 features various rotations of the

row form, the oboe, clarinet, horn, and bassoon feature the same contour as the flute and

horn in mm. 125-130, as shown in Example 7.68. The bassoon in mm. 173-176 features

the retrograde of the flute and horn’s CAS, while the clarinet features the same CAS as


223

the flute and horn in mm. 125-130. The horn in mm. 174-179 features the same cseg as

the flute in mm. 125-130 and the oboe in mm. 174-179 features the retrograde of the

flute’s cseg in mm. 125-130. The bassoon’s segment in mm. 176-179 features a fragment

of the flute’s CAS in the same measures.


Oboe, Clarinet, Horn, and Bassoon mm. 173-179.

Example 7.68. Contour Comparison of Hauptstimmen in mm. 125-130 and 173-179.


224

The return of the B section in mm. 226-304 is constructed differently than the A

section recapitulations. The return of the B section relies more heavily on transpositions

in pitch space of the initial B section material, and musical material from the A and C

sections appear in the return of the B section. Example 7.69 illustrates the large-scale

motivic breakdown of this section.

Material Developed Measure #’s B Section Material mm. 226-258 A Section Material mm. 259-281 C Section Material mm. 282-304 1st and 2nd Movement* mm. 298-304

* These motives were discussed with the last recapitulation of the A section Example 7.69. Thematic Structure of the B Section Recapitulation.

The return of the B section in mm. 226-304 begins with the Horn playing material

from the clarinet part in mm. 43-47 down a perfect 12th (a T5 transposition in pitch-class

space), as shown in Example 7.70. Next the imitative exchange between the flute, horn,

and bassoon in mm. 52-56 is restated at T5 in mm. 231-237, as shown in Example 7.71.


225

Clarinet mm. 43-47

Horn mm. 226-230

Example 7.70. Ordered Pitch Interval Comparison of Clarinet in mm. 43-47 and Horn in mm. 226-230.


226

Flute, Horn, Bassoon mm. 52-56

Flute, Oboe, Bassoon mm. 231-237

Example 7.71. Ordered Pitch Interval Comparison of Flute, Horn, Bassoon in mm. 52-56 and Flute, Oboe, and Bassoon in mm. 231-237.


227

The Horn in mm. 240-242 states a T6 transposition of the horn in mm. 58-60, in

almost the same rhythm: a swing transformation causes the rhythmic difference in m.

242, as shown in Example 7.72 and 7.73. Even though the oboe part is marked

Hauptstimme in m. 239, it seems to serve an accompanimental role.

Horn m. 60

Rhythm from Horn m. 60 Pitch from Horn m. 242

Horn m. 242

Example 7.72. Swing Transformation in m. 242


228

Horn mm. 58-60


Example 7.73. Comparison of Horn in mm. 58-60, and the Clarinet and Horn in mm. 239-242. As illustrated in Example 7.74 and 7.75, the clarinet in mm. 240-242 features the

same contour and almost the same rhythm as the clarinet in mm. 43-48: the clarinet’s tied

B♭ in mm. 44-45 is answered by a quarter note F♯ and a sixteenth rest in mm. 241-242

and the clarinet’s tied B in mm. 45-46 is answered by a tied G♯ that is a quarter note

shorter in m. 242. The contour and rhythmic similarities between the clarinet’s first and

second segments in mm. 44-45 and m. 242 are strengthened by the fact that their second

segments have two ordered pitch intervals in common, +8 and +10.


229

Clarinet mm. 43-48


Example 7.74. Comparison of the Clarinet mm. 43-48 and the Clarinet in mm. 240-242.

Clarinet mm. 43-48


*Each measure contains a complete statement of the row, and the pitch classes not found in the flute are in the accompanying clarinet voices. Example 7.75. Dseg Comparison of the Clarinet mm. 43-48 and the Clarinet in mm. 240-242.


230

Flute mm. 61-63

Flute mm. 243-245

Example 7.76. Comparison of Flute in mm. 61-63 and Flute in mm. 243-245.

The last motive from the B section that is developed is the flute in mm. 61-63.

The flute in mm. 243-245 is nearly the inversion of the Flute in mm. 61-63 at a

transposition of T6: the last ordered pitch interval m. 245 is the only one that differs, as

shown in Example 7.76. The imitative exchange between the flute, oboe, horn, and

bassoon in mm. 246-253 develops the imitative exchange between the flute, oboe,

clarinet, horn, and bassoon in mm. 64-69, as shown in Example 7.77. The bassoon’s first

segment in m. 246 is the transposition at T6 of the clarinet’s first segment in m. 64, while

the oboe’s first segment in mm. 246-247 features the inversion of the oboe’s ordered

pitch intervals in mm. 64-65. The flute’s last segment in m. 253 shares the same contour

and the first two ordered pitch intervals as the bassoon’s last segment in m. 68. The

remaining oboe, horn, and bassoon segments in mm. 247-252 all repeat the last ordered


231

pitch interval from the oboe and bassoon’s first segments in mm. 246-247, -8, while the

flute’s first segment in mm. 248-249 features the inversion of that ordered pitch interval.

Flute, Oboe, Clarinet, Horn and Bassoon in mm. 64-69


232

Flute, Oboe, Horn, and Bassoon mm. 247-253.

Example 7.77. Comparison of the Oboe, Clarinet, Horn and Bassoon in mm. 64-69 and the Flute, Oboe, Horn, and Bassoon in mm. 246-253.


233

At this point in the return of the B section, Schoenberg develops the subject first

stated by the clarinet in mm. 1-5, as shown in Example 7.78. Although the bassoon part

in mm. 254-255 features the same contour as the clarinet fragment in m.1, rhythmically

the bassoon segments are one eighth note shorter than the clarinet fragment in m.1. While

the flute’s first and last segments in mm. 256-258 feature the same contour and rhythm as

the bassoon segments in mm. 254-255, the flute’s second segment begins with the same

rhythm as the clarinet in mm. 2-3 and the contour varies.

Clarinet mm. 1-2

Bassoon mm. 254-255

Flute mm. 256-258

Example 7.78. Comparison of the Clarinet in mm. 1-2, the Bassoon in mm. 254-255, and the Flute in mm. 256-258.

The next five measures continue the development of the clarinet part in mm. 1-5,

as shown in Example 7.79. The clarinet in mm. 259-263 features the retrograde of the

clarinet’s row form in mm. 1-5. The clarinet’s second, third, and fourth segments in mm.

259-263 have the same contour as the corresponding clarinet segments in mm. 1-5, while


234

the contour of the clarinet’s first segment is the inversion of the corresponding clarinet

segment in m. 1. Rhythmically, the clarinet in mm. 259-263 shares almost the same dsegs

as the clarinet in mm. 1-5: the clarinet’s &. ( ) rhythmic figure in m. 4 is answered by the &

* * rhythmic figure in m. 262 and the clarinet’s #+* rhythmic figure in mm. 4-5 is

answered by the #+& rhythmic figure in mm. 262-263, as shown in Example 7.80.

Clarinet mm. 1-5


Example 7.79. Comparison of the Clarinet in mm. 1-5 and the Clarinet in mm. 259-263.


235

Clarinet mm. 1-5


Example 7.80. Dseg Comparison of the Clarinet in mm. 1-5 and the Clarinet in mm. 259-263.

The next eleven measures of music develop the countermelody first stated by the

horn in mm. 12-17. The flute in mm. 264-268 states the same row form as the horn in

mm. 12-17, while the accompanying oboe part states the inversion of the horn’s row form

in mm. 12-17, as shown in Example 7.81. Both the flute and the oboe part vary the horn’s

melodic contour in m. 12: the flute states a three-note fragment of the horn cseg and the

horn CAS twice, and the oboe states the horn’s cseg and its inversion. The oboe’s rhythm

in mm. 264-265 matches the horn’s in m. 12, while the rhythm of the flute in mm. 264-

268 is a variation on the horn’s rhythm: the two eighth notes that end m. 12 are answered

by the flute’s quarter note on the down beat of m. 265 and on the second beat of m. 268.


236

Horn m. 12


Example 7.81. Comparison of the Horn in m. 12 and the Flute and Oboe in mm. 264-268

The clarinet and horn’s first and second segments in mm. 269-271 feature dseg

subsets of the horn’s dseg in m. 12, as shown in Example 7.82. The contour of the

clarinet’s first and second segments in mm. 268-270 is the inversion of the first three

members of the horn’s cseg in m.12, and the contour of the clarinet’s third segment in

mm. 271-275 is the inversion of the horn’s second segment in mm. 13-14, as shown in

Example 7.83. The horn’s first segment in mm. 270-271 features the retrograde, while the

horn’s second segment features the same contour as the first three members of the horn’s

cseg in m. 12.


237

Horn mm. 12


Example 7.82. Dseg Comparison of the Horn in mm. 12 and the Clarinet and Horn in mm. 268-274.


238

Horn mm. 12-17


Example 7.83. Contour Comparison of the Horn in mm. 12-17 and the Clarinet and Horn in mm. 268-274.

The horn in mm. 276-278 features almost the same rhythm as the clarinet in mm.

1-5: the squeeze transformation illustrated in Ex. 7.26 occurs in mm. 277, as shown in

Example 7.84. The contour of the horn’s first segment in mm. 276-277 has the same cseg

as the clarinet segment in mm. 1-2, while the contour of the horn’s two-pitched segments

in mm. 277-278 are the inversion of the clarinet’s segments in mm. 2-3.


239

Clarinet mm. 1-5

Horn mm. 276-278

Example 7.84. Comparison of the Clarinet in mm. 1-5 and the Horn in mm. 276-278.

The oboe and bassoon parts in m. 279-281 feature the rhythm of the clarinet’s

first segment in m. 1, as shown in Example 7.85. The oboe and bassoon contour in mm.

279-281 is the same as the clarinet contour in mm. 2-4, as shown in Example 7.86.

Clarinet mm. 1-5

Oboe and Bassoon in mm. 279-281

Example 7.85. Dseg Comparison of the Clarinet in mm. 1-5 and the Oboe and Bassoon in mm. 279-281.


240

Clarinet mm. 1-5


Example 7.86. Contour Comparison of the Clarinet in mm. 1-5 and the Oboe and Bassoon in mm. 279-281. The next fourteen measures of the second B section feature the development of

the opening motive from the C section stated by the bassoon in mm. 116-124, as shown

in Example 7.87. The clarinet in mm. 282-290 features the same rhythm and ordered

pitch class intervals as the bassoon in mm. 116-124. The horn part in mm. 290-296

features the same rhythm and the T2 transposition of the bassoon in mm. 116-119, while

the accompanying oboe and bassoon parts feature the same contour and almost the same

rhythm as the bassoon part in mm. 116-119; the bassoon’s half notes in mm. 117 and 119

are answered by a pair of tied half notes in the oboe and bassoon’s first and second

segments and the horn’s first segment in mm. 290-296.


241

Bassoon mm. 116-124



Example 7.87. Ordered Pitch Interval Comparison of the Bassoon in mm. 116-124, the Clarinet mm. 282-290, and the Oboe, Horn, and Bassoon in mm. 290-296 Conclusion

Schoenberg uses rhythm and melodic contour as the driving force for thematic

identity throughout this movement and in many places manages to keep melodic contour

invariant despite row-form transformations and various arrangements of the row form

across multiple voices. Langdon Corson’s twelve-tone analysis clearly demonstrates that


242

the contrast between sections is defined in part by the row forms used. Each section

except for B’ uses a unique and relatively small set of the 48 possible row forms: The A

sections use only P3, I3, R3, and RI3; the first iteration of B uses only I9 and RI9; and the

C section uses only R1, I5, P1, P8, RI7, and P2, as shown in Example 7.88. B’ is the one

exception because it recalls row forms from the A section, though its first three row

forms include two forms that are found nowhere in the A or C section: I2 and RI2.

A Sections Subject A mm. A’ mm. A’’ mm. P3 1-5 R3 78-82 hn. R3 187-191 ob. P3 6-10 RI3 78-82 bn. I3 187-191 cl P3 8-11 R3 83-87 fl. RI3 192-197 R3 18-22 RI3 83-87 cl. R3 204-208 ob. R3 29-33 RI3 94-98 RI3 204-208 bn. P3 34-39 fl. RI3 105-109 I3 214-219 I3 34-39 cl. P3 110-115 fl. P3 217-225 I3 110-115 hn. A mm. A’ mm. A’’ mm. R3 12-17 P3 88-93 ob. RI3 198-203 R3 23-28 I3 88-93 bn. RI3 209-214 cl. P3 99-104 I3 209-214 bn.

B Sections

Example 7.88. Row Form Chart for the Thematic Sections.

Primary Theme B mm. B’ mm. I9 43-47 I2 226-230 I3 239-242 RI9 52-56 RI2 231-237 Subordinate Theme B mm. B’ mm. I9 58-60 I3 239-242 RI9 61-63 RI3 243-245 I9 69-71 I3 246-253 P9 72-74

Primary Theme C mm. R1 116-124 I5 131-140 I5 159-172 Subordinate Theme C mm. P1 125-130 P8 141-146 I5 155-160 RI7 173-179 P2 176-179 fl.

Countermelody

C Section


243

The row forms in this movement are segmented differently within each thematic

section. While the first two A sections state the entire row in a single voice, the B

sections state the row broken up between several voices, and the C section segments the

row into two trichords and a hexachord with at least one grouping stated outside the

principal voice.

While the serial structure of the movement divides row forms up into segments

whenever a single row form is expressed by multiple parts, Schoenberg primarily uses

rhythm and contour to divide row statements articulated by a single voice into segments.

Melodic and rhythmic contour analysis adds to Corson’s twelve-tone analysis by

examining segments within each statement of the row, allowing for comparisons between

segments in different row forms that represent compositional choices independent of the

movement’s serial organization. These segments play a pivotal role in the large-scale

thematic and formal organization of the movement. Rhythm is the dominant unifying

motivic element in this movement. The dseg of the A section subject’s first segment

(clarinet mm. 1-2) is preserved in 90% of the subject’s restatements, while the dseg of the

subject’s first two segments (clarinet mm. 1-3) remains closely related in 77% of its

restatements.77 In addition, all the A section countermelody restatements feature the same

first and second dsegs as the horn countermelody in mm. 12-13. Finally, the dsegs for all

the C section primary theme segments are preserved in its variations, and 89% of the C

section subordinate theme restatements share the same IOIseg.

The motivic development within each section illustrates what Schoenberg argued

were the two methods of varying a motive: variation for the sake of ornamental variety

77 Segments whose cseg, CAS, dseg, or IOIsegs are at least a 75% match are considered closely related.


244

and variation for the sake of allowing new ideas to emerge.78 The motivic development

within the A and C sections resembles the first method of varying a motive: the motives

undergo several ornamental variations in which the changes do not grow into new ideas.

On the other hand, the motivic development within the B sections resembles the second

method of varying a motive. The development of the subordinate theme follows the steps

Ethan Haimo outlines as the process of developing variation in its most basic form, as

shown in Example 7.89.79 First, the thematic material is stated (mm. 58-60). Second, the

thematic material is varied in way that retains some commonality with the initial

statement of the theme (mm. 63-65). Third, new material emerges from the differences

between the variation and the initial statement of the theme (mm. 68-74). This motivic

development is not a byproduct of the work’s serial structure and therefore would not be

revealed through a twelve-tone analysis alone.

78 Arnold Schoenberg, Coherence, Counterpoint, Instrumentation, Instruction in Form, ed. Severine Neff, Trans. Severine Neff and Charlotte Cross (Lincoln: University of Nebraska Press, 1993), 38-9. 79 Ethan Haimo, “Developing Variation and Schoenberg’s Serial Music,” Music Analysis 16, no. 3 (Oct. 1997): 355.


245

Horn mm. 58-60

Flute mm. 63-65

Flute and Oboe mm. 68-71 (Retrograde form of (0213) in flute)

Bassoon mm. 72-73

Clarinet mm. 73-74

Example 7.89. The Development of the B Section’s Subordinate Theme.


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CHAPTER EIGHT

CONCLUSION

When integrating my contour analysis with Jack Boss and Langdon Corson’s

twelve-tone analyses of this piece, I made the following observations: 1) melodic

contours and rhythms associated with themes are treated independently from the

treatment of the twelve-tone rows used to compose their initial presentation, 2) coherence

between sections is created through a network of pitch, pitch-class, contour, and

durational relationships that relates the original presentation of thematic material to its

restatement and development, and 3) two types of development can be found throughout

this piece, 1) development for the sake of ornamentation; and 2) development for the sake

of generating new material. There are several moments in each movement where

thematic material is restated with either a different row form or a different rotation of the

same row form. In the first movement, the restatement of the secondary theme’s opening

in mm. 49-55 is a rotation of its initial presentation in mm. 42-47, as shown in Example

8.1. In the table at the bottom of the example and in similar tables throughout this

chapter, the series of pitch classes in each row presentation are shown and those pitch

classes that constitute the first six order positions are underlined to highlight the

correspondences between rotations.80 The flute’s first segment in mm. 49-52 features the

same cseg and rhythm despite the difference in rotation. Although the flute’s first

segment appears to be a transposition of the oboe’s first segment, their last intervals

differ; the oboe’s +13 is answered by the flute’s +15. Schoenberg’s use of this mostly



247

transpositional relationship between the row’s two hexachords allows him to avoid

beginning the theme with a transposition of the row form each time he wants to bring it

back.

Oboe mm. 42-47

Flute mm. 49-55

I7: 7 3 1 11 9 10 0 8 6 4 2 5 I7(T6) 0 8 6 4 2 5 7 3 1 11 9 10

Example 8.1. Comparison of Oboe mm. 42-45 and Flute mm. 49-52.

In the second movement, the restatement of the Trio Theme in mm. 108-114 is a

transposed rotation of its initial presentation beginning on the first note of the second

hexachord, as shown in Example 8.2. The clarinet’s first pitch and last five pitches in

mm. 108-114 are the same as the oboe’s, despite the fact that the restatement is actually

not the same row form, but a rotated transposition, no doubt explaining why Schoenberg

chose this particular transpositional level. Although this relationship accounts for the

clarinet’s third segment in mm. 113-114 featuring the same cseg as the oboe in mm. 99-


248

100, it does not account for the contour similarities between the clarinet and oboe’s first

and second segments; The clarinet’s first segment features the same cseg and rhythm as

the oboe’s first segment and the clarinet’s second segment features the same CAS and

rhythm as the oboe’s second segment despite the different row forms stated.

Oboe mm. 94-100

Clarinet mm.108-114

RI0: t 7 9 e 1 5 3 2 4 6 8 0 RI7(T6): t 9 e 1 3 7 5 2 4 6 8 0

Example 8.2. Comparison of Oboe mm. 94-100 and Clarinet mm. 108-114.

In the third movement, the restatement of the A section Nebenstimme’s first

motive and its immediate repetition in mm. 101-102 features the same csegs and dsegs as

its initial presentation, despite their row form differences, as shown in Example 8.3. The

oboe and flute in mm 101-102 state a rotation of the bassoon’s row form beginning on the

first note of the second hexachord. Although the flute segment in m. 102 states the same

hexachord as the bassoon in m. 1 the row form is partitioned differently.


249

Bassoon m. 1, row form and cseg dseg

Oboe and Flute mm. 101-102, row and cseg dseg

P3: 3 7 9 11 1 0 10 2 4 5 8 5 P3(T6): 10 2 4 5 8 5 3 7 9 11 1 0

Example 8.3. Comparison of Bassoon m. 1, Oboe mm. 101-102, and Flute m. 102. In the fourth movement, the restatement of the C section secondary theme in mm.

155-160 is a transposed inversion of its initial presentation that begins on the fourth

member of the row form, as shown in Example 8.4. Despite the different row forms

stated, the horn in mm. 155-159 features the same cseg and rhythm as the flute in mm.

125-130.


250

Flute and Horn 125-130

Oboe and Horn 155-160

P1: 1 5 7 9 11 10 8 0 2 4 6 3 I5(T3): 9 7 8 10 6 4 2 0 3 5 1 11

Example 8.4. Comparison of Flute mm. 125-130 and Horn mm. 155-160.

Although each movement of this piece features a unique presentation of thematic

material and form, the methods of motivic development used are the same. Coherence

between sections is created through a network of pitch, pitch-class, contour, and duration

space relationships that relate restatements of thematic material both to its original

presentation and to its imitative development. Of the four available musical

characteristics examined in this dissertation — pitch, pitch-class, melodic contour, or

rhythm— one or more are kept similar in each restatement while the others are varied.

Because at least one link is retained between the initial material and its restatements, a


251

listener is able to recognize the relationship between thematic material and its subsequent

restatements and development. This relationship can be seen in the imitative exchange

between the piccolo and clarinet in the second movement development section (mm. 151-

158), as shown in Example 8.5.

Clarinet m. 49

Piccolo and Clarinet mm. 151-158

Example 8.5. Comparison of Clarinet m. 49 and Piccolo and Clarinet mm. 151-158.

This imitative exchange is heard as tightly knit through various relationships. The

passage in mm. 151-152 begins with a restatement of the motive in m. 49 played by the

piccolo up an octave. The rhythm of each segment is kept the same throughout the


252

imitative exchange, but the piccolo and clarinet also imitate either each other’s ordered

pitch interval segments or CAS in all but one instance. Although the exchange begins

with the clarinet repeating the piccolo’s CAS in mm. 152-153 and the piccolo stating the

inversion of the clarinet’s ordered pitch intervals in mm. 153-154, the clarinet states a

new contour in mm. 154-155. Rhythm is the only thing that connects the clarinet segment

in mm 154-155 to the segments that came before it. The imitative exchange continues

from there with segments linked by CAS or ordered pitch intervals. This exchange

demonstrates the network of relationships used to create coherence not only between the

initial statement of thematic material and its restatement, but also between a restatement

and its imitative development.

As stated above, Schoenberg uses two methods of motivic development in this

piece: 1) Development for the sake of ornamentation and 2) Development for the sake of

generating new material.81 The imitative exchange shown in Ex. 8.5 is an example of the

former; motives undergo several ornamental variations in which the changes do not grow

into new ideas. There are several moments in this piece where Schoenberg uses the latter

method to generate new material. Example 8.6 illustrates development for the sake of

generating new material in the first movement. While the horn in mm. 96-98 starts by

imitating the clarinet segment in inversion, the horn ends with a four-note ascending

motive. This last horn segment becomes the object of a four-voice imitative exchange in

the next couple of measures.

81 Ibid.


253


Horn, Oboe, Clarinet, and Bassoon 98-99.

Example 8.6. Comparison of Clarinet and Horn mm. 96-98, and Horn, Oboe, Clarinet, and Bassoon mm. 98-99.

Future research could provide a more complete understanding of how Schoenberg

utilizes motivic development in his twelve-tone music. Comparing the melodic contour

and rhythmic analysis of pieces that were composed at different points in Schoenberg’s

twelve-tone period, could reveal how Schoenberg’s use of motivic development changed

throughout the evolution of his twelve-tone technique. Developing a probability tool to

quantify the likelihood a contour segment would reappear by coincidence can help

determine the significance of recuring contour segment in Schoenberg’s twelve-tone


254

music. Melodic contour and rhythmic analysis could also prove important in developing

better methods for explaining Schoenberg’s twelve-tone music by providing a more

systematic approach to tracing motivic development, one that matches the level of

systematic rigor found in his twelve-tone method. It might also prove fruitful to analyze

the melodic contour and rhythm of Berg and Webern’s twelve-tone pieces to see if they

adopted any of Schoenberg’s motivic developmental techniques.


255

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APPENDIX A

ANALYSIS COMPARISON CHARTS

Comparison Chart for 1st MovementSectionExposition Segmentation Row Form Cseg CASPrimary Thememm. 1-14 fl 6-6-6-4-5-2-6 P3, R3, I3 (512340) (142530) (143052) (2013) (-+++-) (+-+--) (+--+-) (-++)

(43102) (10) (325041) (---+) (-) (-+-+-)m. 14 bn. 0% 0%

3 RI3mm. 14-15 ob. 0% 0%

2 RI3mm. 16-17 ob. 50% 100%

6 P3(T6) (501342) (-+++-)mm. 17-20 hn. 0%-0% 80%-83%

5-7 P3, RI3 (+-+-) (+--+-+)mm. 20-21 cl 67% 100%

6 RI3(T6) (324051) (-+-+-)mm. 21-23 ob. 17% 100%

6 RI3 (423150) (-+-+-)mm. 23-28 fl. 0%-0%-0%-40%-0% 0%-0%-0%-0%-0%

3-4-5-5-6 P3, R3 (120) (2130) (31240) (24103) (043215)

mm. 27-29 hn. 80% 80%5 P3(T6) (40123) (-+++)

Transitionmm. 29-30 cl. 6 I7(T3) (215304) (-+--+)mm. 30-32 ob. 50% 100%

6 I7((T9) (205314)mm. 32-36 cl. 0%-33%-67% 80%-80%-80%

6-6-6 I7(T6), RI7 (214035) (304125) (501234) (-+-++) (-+-++) (-++++)mm. 32-34 bn 50% 80%

6 I7 (024135) (++-++)mm. 35-36 fl. 17% 80%

6 P3 (512340) (-+++-)mm. 35-37 ob. 33% 100%

6 RI7 (201345) (-++++)mm. 36-39 hn. 50%-33%-0% 100%-40%-0%

5-5-3 P3(T6) (30124) (43120) (021) (-++++) (--+-) (+-)mm. 39-40 ob. 0% 0%

3 P3(T9)

Secondary Thememm. 42-47 ob. 6-6 I7 (043215) (215430) (+---+) (-+---)mm. 48-53 bn. 100%-100% 100%-100%

6-6 I7mm. 49-55 fl. 100%-50% 100%-100%

6-6 I7(T6) (043215) (105432)mm. 50-53 ob. 100%-100% 100%-100%

6-6 I7mm. 51-53 hn. 100% 100%

6 I7(T6) (043215) (+---+)

Closing Thememm. 55-57 cl. 3-5-6 RI7 (120) (12120) (102534) (+-) (+-+-) (-++-+)mm. 55-57 fl. 0%-0%-50% 50%-0%-100%

5-8-6 RI7(T6) (02121) (21212020) (201534) (+-+-) (-+-+-+-) (-++-+)m. 58 ob. 50%-50% 100%-100%

6-6 RI0 (201534) (201534) (-++-+) (-++-+)m. 58 cl. 100% 100%

6 RI0 (102534) (-++-+)m. 58 fl. 100% 100%

6 RI7(T6) (102534) (-++-+)


262

Exposition IOIseg Dseg OPISPrimary Thememm. 1-14 fl {10312} {02021} {12013} {012} [104123] [030312] [120143] [0120] <-8+2+2+2-13> <+16-10+14-10-15> <+10-2-14+20-10>

{0100} {0} {01021} [01001] [01] [010212] <-14+10+10> <-4-17-2+10> <-11> <-4+10-14+10-8>m. 14 bn. 0% 0% 0%

mm. 14-15 ob. 0% 0% 0%

mm. 16-17 ob. 0% 0% 80%<-8+2+2+2-3>

mm. 17-20 hn. 60%-33% 33%-0% 60%-17%{0102} {100032} [01021] [10003211] <+16-10+14-10> <+13-3-10+14-10+16>

mm. 20-21 cl 0% 0% 20%<-1+2-10+14-8>

mm. 21-23 ob. 0% 0% 0%

mm. 23-28 fl. 0%-0%-0%-0%-0% 50%-17%-17%-0%-17% 0%-0%-0%-0%[102] [0112] [10123] [32031] [132014]

mm. 27-29 hn. 20% 17% 80%{0000} {00001] <-8+2+2+2>

Transitionmm. 29-30 cl. {30021} [22003111] <-2+13-10-4+10>mm. 30-32 ob. 60% 63% 80%

{20031} [200314] <-2+15-10-4+10>mm. 32-36 cl. 60%-40%-50% 67%-0%-33% 0%-60%-60%

{30021} {00211} {0011} [300214] [0020013] [002013] <-4+10-14+10+15> <-10+14-10+4+10> <-13+2+2+2+4>mm. 32-34 bn 100% 33% 40%

{30021} [230041111] <+8+10-14+10+13>mm. 35-36 fl. 80% 43% 60%

{20011} [4003021] <-8+2+2+2-13>mm. 35-37 ob. 80% 43% 80%

{20011] {4002013] <-3+2+2+2+4>mm. 36-39 hn. 60%-50%-25% 83%-50%-17% 40%-20%-0%

{30012} {0000} {01} [300201] [00000] [021] <-8+2+2+14> <-2-8+2-10> <+2-1>mm. 39-40 ob. 0% 0% 0%

Secondary Thememm. 42-47 ob. {04321} {00002} [1032214} [000010] <+8-2-2-2+13> <-4+10-2-2-9>mm. 48-53 bn. 20%-20% 71%-50% 100%-100%

{02110} {11101} [1031213] [111010]mm. 49-55 fl. 100%-0% 100%-100%-14% 80%-60%

[1032214] [1022243] <+8-2-2-2+15> <-4+22-2-2-11>mm. 50-53 ob. 40%-67% 14%-75% 80%-80%

{03211} {001021} [0321004] [00001000] <+8-2-2-2+15> <-4+10-2-2-11>mm. 51-53 hn. 0% 43% 100%

[1020002] <+8-2-2-2+13>

Closing Thememm. 55-57 cl. {01} {0001} {00001} [1022] [00011] [000021] <+9-10> <+2-2+2-8> <-1+2+14-10+4>mm. 55-57 fl. 0%-43%-100% 14%-38%-83% 25%-0%-80%

{2100} {0000000} {00001} [2001111] [00000000] [000011] <+11-10+10-10> <-10+10-10+10-18+18-18><-3+2+14-10+4>

m. 58 ob. 100%-100% 100%-83% 80%-80%{00001} {00001} [000021] [000011] <-3+2+14-10+4> <-3+2+14-10+4>

m. 58 cl. 100% 100% 100%{00001} [000021] <-1+2+14-10+4>

m. 58 fl. 100% 100% 100%{00001} [000021] <-1+2+14-10+4>


263

m. 59 hn. 0%-67%-0%-0% 0%-50%-100%-50%

3-3-3-3- I0(T3) (201) (210) (021) (210) (-+) (--) (+-) (--)mm. 59-60 fl. 0%-0%-0%-0% 100%-50%-0%-50%

3-3-3-3 P8(T3) (+-) (++) (-+) (++)mm. 60-62 fl. 0%-60% 0%-50%

3-3 RI7 (201) (120) (-+) (+-)mm. 61-63 cl. 0%-60% 0%-50%

3-3 RI7 (102) (120) (-+) (+-)mm. 63-64 fl. 33%-60% 100%-50%

3-3 RI7(T6) (021) (120) (+-) (+-)mm. 63-64 cl. 100%-60% 100%-50%

3-3 RI7 (120) (120) (+-) (+-)

mm. 1-4 fl 6 P3 (512340) (-+++-) mm. 64-65 ob. 33% 100%

6 P3 (501243)m. 65 33% 100%

6 P8 (501243)mm. 66-67 ob. 0% 0%

6 I7mm. 66-67 cl. 0% 0%

6 I7m. 67 hn. 0% 0%

6 I0mm. 67-68 fl. 0% 0%

6 I0mm. 69-73a hn. 0%-0% 0%-60%

5-4 R1, I0 (+--+) (-++)mm. 69-81 hn. 0%-0%-0%-0%-0%-0%-0% 0%-40%-0%-0%-0%-0%-0%

5-4-5-3-4-4-5 R1, I0, P3, R3 (+--+) (-+-) (+-+-) (+-) (+-+) (+-+-)

Development Segmentation Row Form Cseg CASPrimary thememm. 1-2 fl 3 P3 (201) (-+) mm. 82-83 hn 33% 0%

3 I3 (021)mm. 84-85 bn 33% 0%

3 I3 (021)mm. 84-85 ob 33% 0%

3 I3 (021)m. 85 hn 33% 0%

3 I3 (021)m. 86 hn 33% 0%

3 I3 (021)mm. 86-87 cl 33% 100%

3 I3 (102)mm. 87-88 ob 0% 0%

3 P3mm. 88-89 cl 33%-0% 0%-100%

3-3 I3 (102) (120)mm. 5-6 fl 4 P3(T6) (0213) (+-+)mm. 92-93 bn 100% 100%

4 P11(T6)mm. 92-93 hn 100% 100%

4 P11 mm. 93-94 ob 0% 67%

4 I3 (--+)mm. 93-94 cl 0% 0%

4 I3(T6)mm.5-10 fl 6-6 P3, R3 (142530) (130254) (++--+) (+-++-)mm. 95-96 ob 17% 100%

6 R3 (124305) (++--+)

Exposition Segmentation Row Form Cseg CAS


264

m. 59 hn. 50%-50%-50%-50% 25%-25%-25%-25% 0%-0%-0%-0%{00} {00} {00} {00} [000] [000] [000] [000]

mm. 59-60 fl. 50%-50%-50%-50% 25%-25%-25%-25% 0%-0%-0%-0%{00} {00} {00} {00} [000] [000] [000] [000]

mm. 60-62 fl. 100%-25% 0%-20% 0%-25%{01} {10} [02131] [102] <-15+14> <+2-20>

mm. 61-63 cl. 100%-25% 0%-20% 0%-25%{01} {10} [02131] [102] <-13+14> <+2-20>

mm. 63-64 fl. 0%-25% 50%-20% 50%-25%{10} {10} [101] [102] <+11-10> <+2-20>

mm. 63-64 cl. 0%-25% 50%-20% 100%-25%{10} {10} [101] [102] <+9-10> <+2-20>

mm. 1-4 fl {10312} [104123] <-8+2+2+2-13> mm. 64-65 ob. 0% 10% 80%

[0000000001] <-8+2+2+2-1>m. 65 0% 10% 80%

[0000000001] <-8+2+2+2-1>mm. 66-67 ob. 20% 33% 0%

{12000} [120003]mm. 66-67 cl. 20% 17% 80%

{12000} [120001] <+8-2-2-2+15>m. 67 hn. 20% 33% 100%

{12000} [120003]mm. 67-68 fl. 20% 33% 80%

{12000} [120003] <+8-2-2-2+15>mm. 69-73a hn. 0%-0% 0%-50% 0%-0%

[12100] [101110]mm. 69-81 hn. 0%-40%-20%-40%-20%-0%-40%0%-33%-17%-50%-17%-0%-17% 0%-0%-0%-0%-0%-0%-0%

{1210} {100} {0010} {10} {120} [12100] [1001] [00100] [102] {010} {101} [1201] [0102] [00000]

Development IOIseg Dseg OPISPrimary thememm. 1-2 fl {10} [102] <-8+2> mm. 82-83 hn 0% 0% 0%

mm. 84-85 bn 0% 0% 0%

mm. 84-85 ob 0% 0% 0%

m. 85 hn 0% 0% 0%

m. 86 hn 0% 0% 0%

mm. 86-87 cl 50% 33% 0%{00} [110]

mm. 87-88 ob 50% 33% 0%{00} [110]

mm. 88-89 cl 25% 7% 0%-0%{0000} [00000000000000]

mm. 5-6 fl {010} [0101] <+16-10+14>mm. 92-93 bn 100% 100% 100%

mm. 92-93 hn 100% 75% 100%[0201]

mm. 93-94 ob 100% 75% 0%[0201]

mm. 93-94 cl 100% 75% 0%[0100]

mm.5-10 fl {31201} {30122} [312014] [301224] <+3+10-2-14+20> <+13-14+10+10-4>mm. 95-96 ob 20% 20% 100%

{01110} [011101] <+3+10-2-14+20>

Exposition IOIseg Dseg OPIS


265

mm. 95-96 bn 0% 0%6 RI3

mm. 96-98 cl 33% 60%6 R3(T6) (032514) (+-+-+)

mm. 96-98 hn 0% 40%6 RI3(T6) (-+-+-)

mm. 98-99 hn 17%-17%-17% 40%-20%-40%4-4-4 I3 (0123) (3210) (0123) (+++) (---) (+++)

m. 98 ob 17% 40%4 I3 (0123) (+++)

m. 99 cl 17% 40%4 I3 (0123) (+++)

m. 99 bn 17% 40%4 I3 (0123) (+++)

mm. 17-18 hn and mm. 1-4 fl5; 6 P3 (03142); (512340) (+-+-); (-+++-)mm. 100 ob 17% 80%

6 I3 (043251) (+--+-)mm. 101-102 ob 100% 100%

6 P3(T6) (512340) (-+++-)mm. 100-102 hn 17%-0% 80%-20%

6-6 I3(T6), RI8(T11) (043152) (423102) (+--+-) (-+--+)Secondary Thememm. 42-46 ob 6 I7 (043215) (+---+)m. 105 bn 17% 17%

6 P3(T5) (523140) (-+-+-)m. 105 fl 17% 80%

6 I7 (032541) (+-+-+)m. 106 ob 0% 17%

6 P8 (-+-+-)mm. 106-107 cl 0%-0% 80%-17%

6-6 I7; P3(T6) (+-+-+) (-+-+-)Closing Thememm. 55-56 cl 3-5 RI7 (120) (12120) (+-) (+-+-)mm. 107-109 hn 100%-100% 100%-100%

3-5 RI8mm. 109-111 bn 33%-40% 0%-0%

3-5 R4 (102) (10102)Primary Themem. 19 hn 4 RI3 (2103) (--+)mm. 111-112 ob 100%-100% 100%-100%

4-4 RI8mm. 112-113 fl 0%-25% 0%-33%

4-3 RI8 (0231) (120) (++-) (+-)m. 114 hn 0%-25% 0%-0%

4-3 RI7 (03421) (120)mm. 115-117 ob 0%-25% 33%-100%

4-4 RI7 (1032) (3201) (-+-) (--+)mm. 116-117 hn 0% 0%

4 RI4Recapitulation Segmentation Row Form Cseg CASPrimary Thememm. 1-14 fl 3-3-6-6-4-5-2-6 P3, R3, I3 (201) (120) (124530) (143052) (2013) (-+) (+-) (+-+--) (+--+-) (-++)

(43102) (10) (325041) (---+) (-) (-+-+-)mm. 128-129 fl 100% 100%

3 P3 (201) (-+)mm. 128-129 cl 100% 100%

3 P3 (120) (+-)mm. 130-132 ob 17% 60%

4 P3 (0213) (+-+)mm. 131-134 hn 33%-83% 100%-83%

6-5 P3, R3 (041532) (13204) (+-+--) (+--+)

Development Segmentation Row Form Cseg CAS


266

mm. 95-96 bn 0% 0% 0%

mm. 96-98 cl 20% 20% 40%(02100} [021001] <+13-2+10-14+8>

mm. 96-98 hn 20% 20% 0%{02110} [021100]

mm. 98-99 hn 0%-0%-0% 17%-17%-17% 20%-0%-0%[0000] [0000] [0000] <+3+2+5> <-5-2-3> <+4+2+5>

m. 98 ob 0% 17% 0%[0000]

m. 99 cl 0% 17% 20%[0000] <+3+4+3>

m. 99 bn 0% 17% 0%[0000]

mm. 17-18 hn and mm. 1-4 fl{0102}; {10312} [01021]; [104123] <+16-10+14-10>; <-8+2+2+2-13>mm. 100 ob 20% 17% 0%

{12000} [120000]mm. 101-102 ob 40% 17% 0%

{10000} [100000]mm. 100-102 hn 20%-40% 17%-60% 0%-0%

(12000} {01111} [120000] [011111]Secondary Thememm. 42-46 ob {03210} [1032214] <+8-2-2-2+13>m. 105 bn 80% 0% 0%

{02210}m. 105 fl 80% 29% 60%

{02210} [033201] <+8-2+10-14+13>m. 106 ob 40% 0% 0%

{01020}mm. 106-107 cl 40%- 40% 14%-14% 20%-40%

{01020} {00000} [010200] [000001] <+4-2+10-14+11> <-8+2-10+2-13>Closing Thememm. 55-56 cl {01} {0001} [1022] [00011] <+9-10+14+2-2+2-8>mm. 107-109 hn 100%-60% 100%-86% 100%

mm. 109-111 bn 100%-60% 100%-86% 0%{01} {10002} [1022] [100022]

Primary Themem. 19 hn {1000} [10002] <-3-10+14>mm. 111-112 ob 75%-75% 20%-0% 100%-67%

{100} {100} [01112] [01111] <-3-10+14> <-1-10+14>mm. 112-113 fl 0%-0% 50%-40% 0%-0%

[101010] [1011]m. 114 hn 25%-0% 20%-0% 0%-0%

{0201} {01} [13120] [0213]mm. 115-117 ob 0%-75% 0%-0% 33%-33%

{011} {100} <-3+14-10> <-1-10+2>mm. 116-117 hn 0% 0% 0%

Recapitulation IOIseg Dseg OPISPrimary Thememm. 1-14 fl {10} {01} {02021} {12013} {012} [102] [012] [030312] [120143] [0120] <-8+2> <+2-13> <+16-10+14-10-15> <+10-2-14+20-10>

{0100} {0} {01021} [01001] [01] [010212] <-14+10+10> <-4-17-2+10> <-11> <-4+10-14+10-8>mm. 128-129 fl 100% 100% 100%

{10} [102] <-8+2>mm. 128-129 cl 100% 0% 0%

{01}mm. 130-132 ob 60% 33% 60%

{010} [0102] <+16-10+14>mm. 131-134 hn 80%-20% 0%-67% 80%-80%

{02031} {2101} [12141120] [32014] <+16-10+14-10-3> <+10-2-14+20>

Development IOIseg Dseg OPIS


267

mm. 134-139 fl 0%-60%-67%-33% 0%-50%-50%-40%

5-3-3-5 R3, I3 (04321) (210) (210) (32014) (+---) (--) (--) (--++)mm.139-140 bn 100% 100%

3 RI3 (012) (++)mm. 141-142 hn 83% 100%

6 P3(T6) (501324) (-+++-)mm. 142-145 cl 100%-100% 100%-100%

5-7 P3, RI3 (03142) (0320415) (+-+-) (+--+-+) mm. 145-146 hn 100% 100%

6 RI3(T6) (324051) (-+--+-)mm. 146-148 cl 100% 100%

6 RI3 (423150) (-+--+-)mm. 148-153 fl 100%-100%-100%-100%-100% 100%-100%-100%-100%-

100%3-4-5-5-6 P3, R3 (120) (2130) (31240) (24103) (043215) (+-) (-+-) (-++-) (+--+) (+---+)

mm. 27-28 hn 5 P3, R3 (40123) (-+++)mm. 153-154 hn 40% 20%-20%

5-7 I7(T6), P3 (02143) (0253401) (+--+-) (+-+-+)m. 57 cl 6 RI7 (102534) (-++-+)m. 154 ob 50% 40%

6 RI7(T6) (142530) (+-+--)Transitionmm. 29-30 cl. 6 I7(T3) (215304) (-+--+)mm. 155-156 bn 100% 100%

6 I0(T3)mm. 156-157 cl 100% 100%

6 I0(T9)mm. 158-163 bn 100%-100%-100% 100%-100%-100%

6-6-6 I0(T6), RI0, I0mm. 158-160 cl 100% 100%

6 I0mm. 161-162 fl 100% 100%

6 P8mm. 161-163 hn 33% 100%

6 P0(T4) (501234)mm. 162-165 ob 100%-100%-100% 100%-100%-100%

5-5-3 P3mm.165-167 hn 0%-0%-0% 0%-0%-0%

3-3-4 RI1Secondary Thememm. 42-47 ob. 6-6 I7 (043215) (215430) (+---+) (-+---)mm. 168-173 hn 100%-100% 100%-100%

6-6 I0mm. 174-179 bn 100%-100% 100%-100%

6-6 I0mm.175-180 cl 17%-83% 60%-100%

6-6 I0(T6) (032541) (10432) (+-+--) (-+--)mm. 176-178 ob 0% 80%

6 I0 (+----)mm. 177-179 fl 0% 40%

5 I0(T6) (-+--)Closing Thememm. 55-57 cl. 3-5-6 RI7 (120) (12120) (102534) (+-) (+-+-) (-++-+)mm.181-184 cl 100%-100%-100%-100% 100%-100%-100%-100%

3-5-6-6 RI0m. 185 hn 0%-0%-0% 0%-67%-67%

4-4-4 I5(T3) (+-+) (+--) (+-+)mm. 185-186 fl 0%-0%-0% 0%-0%-0%

4-4-4 P1(T3)mm. 186-188 fl 100%-100% 100%-100%

3-3 RI0Recapitulation Segmentation Row Form Cseg CAS

Recapitulation Segmentation Row Form Cseg CAS


268

mm. 134-139 fl 25%-0%-50%-60% 80%-0%-0%-50% 0%-0%-50%-40%{0210} {10} {10} {3102} [03201] [201] [210] [31024] <+13-2-2-2> <-4-2> <-2-11> <-4-14+10+10>

mm.139-140 bn 100% 100% 100%{00} [001] <+4+10>

mm. 141-142 hn 80% 67% 100%{01002} [010021] <-8+2+2+2-3>

mm. 142-145 cl 100%-100% 100%-88% 100%-100%{0102} {10032} [01021] [10003212] <+16-10+14-10> <+13-3-10+14-10+16>

mm. 145-146 hn 100% 100% 100%{30012} [3000120] <-1+2-10+14-8>

mm. 146-148 cl 100% 100% 100%{300012} [3000121] <-3+2-10+14-8>

mm. 148-153 fl 100%-100%-100%-100%-100% 100%-100%-100%-100%-50% 100%-100%-100%-100%-100%{10} {011} {1012} {2102} [102] [0112] [10123] [32031] [042013] <+4-10> <-10+11-10> <10+2+14-28> <+10-14-2+8> {03201} <+13-2-2-2+8>

mm. 27-28 hn {0000} [00001] <-8+2+2+2>mm. 153-154 hn 100%-75% 80%-60% 0%-75%

{0000} {1000} [00000] [10002] <+8-2+10-2> <-8+2-10+2>m. 57 cl {00001} [000021] <-1+2+14-10+4>m. 154 ob 60% 0% 40%

{00010} <+11-10+14-10-8>Transitionmm. 29-30 cl. {30021} [22003111] <-2+13-10-4+10>mm. 155-156 bn 100% 100% 100%

mm. 156-157 cl 100% 67% 100%[200413]

mm. 158-163 bn 100%-100%-100% 0%-100%-100% 60%-100%-80%[2200411132] [0020013] [002013] <-4+10-19+14+15> <-10+14-10+4+10> <-39+2+2+2+4>

mm. 158-160 cl 100% 100% 100%

mm. 161-162 fl 100% 100% 100%

mm. 161-163 hn 100% 100% 80%<-15+2+2+2+4>

mm. 162-165 ob 100%-100%-100% 100%-100%-100% 100%-100%-100%

mm.165-167 hn 0%-0%-0% 0%-0%-0% 0%-0%-0%

Secondary Thememm. 42-47 ob. {04321} {00002} [1032214} [000010] <+8-2-2-2+13> <-4+10-2-2-9>mm. 168-173 hn 100%-100% 100%-100% 100%-100%

mm. 174-179 bn 17%-100% 86%-100% 100%-100%{032210) {11101} [1031214] [111010]

mm.175-180 cl 80%-33% 29%-63% 40%-60%{03210} {0000} [1032214] [00001] <+20-2+10-2-9> <-4+10-2-2-9>

mm. 176-178 ob 80% 0% 80%{03213} <+8-2-2-2-9>

mm. 177-179 fl 80% 60% 20%{2000} [30002] <-2+10-2-11>

Closing Thememm. 55-57 cl. {01} {0001} {00001} [1022] [00011] [000021] <+9-10> <+2-2+2-8> <-1+2+14-10+4>mm.181-184 cl 100%-50%-100%-100% 75%-43%-100%-100% 100%-100%-100%-100%

{01} {1002} {00001} {00001} [1021} {0011122] [000021] [000021]m. 185 hn 67%-67%-67% 75%-75%-75% 0%-0%-0%

{000} {000} {000} [0000] [0000] [0000]mm. 185-186 fl 67%-67%-67% 75%-75%-75% 67%-0%-0%

{000} {000} {000} [0000] [0000] [0000] <+2-1-2> <+2+2-10> <-2-8+14>mm. 186-188 fl 100%-100% 100%-100% 100%-100%

Recapitulation IOIseg Dseg OPIS



269

Comparison Chart for Second MovementSectionScherzo Segmentation Row Form Cseg CASPrimary Thememm. 1-18 ob 4-6-3-4-7-5 P3, R3, I3 (T3) (2031) (024531) (021) (1032) (-+-) (+++--) (+-) (-+-)

(120) (120) (120) (24031) (+-) (+-) (+-) (+-+-)mm. 16-18 cl 6 I3 0% 0%

mm. 19-21 bn 6 P3 50%-33% 100%-20%(3021) (01) (-+-) (+)

mm. 21-23 cl 6 R3 100%-33% 100%-20%(2031) (01) (-+-) (+)

mm. 23-25 hn 6 R3 0% 0%

mm. 24-26 cl 6 I3 0% 60%(++-+-)

mm. 25-27 ob 6 I3 67% 30%(024135) (++-++)

mm. 61-73 bn 4-6-5-6 P3 50%-17%-20%-17% 100%-100%-20%-40%(3021) (013542) (01243) (-+-) (+++--) (+++-) (+--++)(254013)

mm. 62-72 pic 4-6-5-4 P3 100%-100%-20%-0% 100%-100%-20%-60%(2031) (024531) (01243) (-+-) (+++--) (+++-) (+--)(0321)

mm. 73-75 cl 7 R3 0% 86%(++--++)

mm. 74-76 ob 7 R3 0% 86%(++-++)

mm.75-77 pic 3 R3 0% 33%(++)

Secondary Thememm. 28-34 ob 4-4-5-3 P3, R3, I3, RI3 (3210) (2103) (02341) (201) (---) (--+) (+++-) (-+)mm. 28-34 cl 4-4-3-3 P3, R3, I3, RI3 0%-0%-0%-33% 0%-0%-25%-100%

(0123) (0132) (201) (102) (+++) (++-) (-+) (-+)mm. 35-40 pic 8-10-6-8-9-4 P3 0%-0%-0%-0%-0%-0% 0%-0%-0%-0%-0%-0%

Primary Thememm. 1-18 ob 4-6-3-4-7-5 P3, R3, I3 (2031) (024531) (021) (1032) (-+-) (+++--) (+-) (-+-) (+-)

(120) (120) (120) (24031) (+-) (+-) (+-+-)mm. 40-41 cl 3 I3 100% 0%

(120)mm. 41-44 pic 3-3-3 I3, RI3 0%-100%-0% 100%-100%-100%

(021) (120) (021) (+-) (+-) (+-)mm. 43-49 cl 5-3-3-4-5 RI3, P3 0%-0%-100%-25%-0% 50%-0%-100%-0%-0%

(41230) (201) (021) (1203) (-++-) (-+) (+-) (+-+) (--+-)(42130)

mm. 50-52 pic 5-6 P3, R3 0%-30% 0%-60%(42130) (014325) (--+-) (++--+)

mm. 52-53 cl 6 R3 30% 60%(014325) (++--+)

m. 53 ob 4 P3 0% 40%(++-)

m. 53 bn 4 P3 0% 40%(++-)

mm.54-56 pic 5 P3 83% 80%(01342) (+++-)

mm. 55-57 ob 5 P3 17% 80%(12340) (+++-)

mm. 56-58 hn 5 P3 83% 80%(01342) (+++-)


270

Scherzo IOIseg Dseg OPISPrimary Thememm. 1-18 ob {101} {01202} {01} {100} [20001] [00001000] [010] [32011] <-10+11-2-8+2+2+2-3-2> <+2-1> <-6+13-2>

{10} {10} {10} {11210} [1000] [1000] [102] [110000] <+10-11> <+14-16> <+10-14> <+3-10+8-2>mm. 16-18 cl 60% 0% 0%

{11201}mm. 19-21 bn 0% 71% 80%

[2000102] <-10+9-2-8+2>mm. 21-23 cl 0% 71% 11%

[2000102] <-9+10-2-14+8>mm. 23-25 hn 0% 29% 11%

[2011200] <+1+10-2-2+8>mm. 24-26 cl 0% 29% 11%

[2031200] <+10+1-10+8-2>mm. 25-27 ob 0% 29% 0%

[2011200]mm. 61-73 bn 100%-100%-40%-40% 100%-100%-67%-29% 78%-24%-0%

{101} {01202} {0100} {22210} [20001] [00001000] [342011] [2011200] <-10+9-2-8+2+2+2-1-2> <+2+2+14-1><+16-10-14+3+10>

mm. 62-72 pic 100%-100%-40%-67% 100%-100%-67%-0% 100%-25%-0%{101} {01202} {0100} {110} [20001] [00001000] [342011] [20110] <-10+11-2-8+2+2+2-3-2> <+2+2+14-1>

<+16-10-1>mm. 73-75 cl 50% 0% 17%

{101010} <+10+8-8-10+10+8>mm. 74-76 ob 50% 0% 0%

{101010}mm.75-77 pic 67% 0% 0%

{10}

Secondary Thememm. 28-34 ob {000} {000} {0000} {01} [0001] [0001] [00001] [120] <-2-3-2> <-2-3+6> <+9+2+4-11> <-10+9>mm. 28-34 cl 100%-100%-25%-100% 100%-0%-20%-33% 0%-0%-0%-0%

{000} {000} {01} {01} [0001] [220013] [010] [210]mm. 35-40 pic 0%-0%-0%-0%-0%-0% 0%-0%-0%-0%-0%-0% 0%-0%-0%-0%-0%-0%

Primary Thememm. 1-18 ob {101} {01202} {01} {100} {10} [20001] [00001000] [010] [32011] <-10+11-2-8+2+2+2-3-2> <+2-1> <-6+13-2>

{10} {10} {11210} [1000] [1000] [102] [110000] <+10-11> <+14-16> <+10-14> <+3-10+8-2>mm. 40-41 cl 67% 80% 22%

{10} [1000] <+10-11>mm. 41-44 pic 100%-100%-0% 100%-100%-0% 50%-0%-0%

{10} {10} {01} [1000] [1000] [00000] <+10-9> <+9-10> <+14-8>mm. 43-49 cl 50%-20%-0%-33%-0% 0%-0%-0%-0%-0% 11%-100%-0%-0%

{1002} {00} {10} {001} {0000} <-10+2+2-8-8+2> <+2-1> <+4-10+14> <-3-2+4-10>

mm. 50-52 pic 0%-0% 30%-75% 0%-0%[10101] [000010]

mm. 52-53 cl 0% 75% 0%[000010]

m. 53 ob 20% 50% 0%{000} [0000]

m. 53 bn 20% 50% 0%{000} [0000]

mm.54-56 pic 80% 88% 50%{0120} [0000100] <+2+2+2-3>

mm. 55-57 ob 80% 88% 38%{0120} [0000100] <+2+2+2-11>

mm. 56-58 hn 80% 75% 50%{0120} [0000201] <+2+2+2-3>


271

mm. 57-59 cl 5 P3 17% 80%(01243) (+++-)

Trio Segmentation Row Form Cseg CASTrio Thememm. 94-100 ob 4-4-4 RI0 (2103) (2103) (1230) (--+) (--+) (++-)mm. 108-114 cl 4-4-4 RI7(T6) 100%-50%-100% 100%-100%-100%

(2103) (3102) (1230)mm. 110-115 bn 4-4-4 RI0 (T6) 100%-100%-100% 100%-100%-100%

mm. 117-131 bn 5-5-6-4-5-5-4 RI7, P8, R3 40%-40%-17%-0%-40%-0%-0% 75%-75%-20%-0%-0%-75%-33%(43102) (42013) (512340) (---+) (--++) (-+++-) (++-) (1230) (12403) (20341) (3120) (++-+) (-++-) (-+-)

mm. 118-132 ob 5-5-5-4-5-5-4 RI7, P3, RI3 0%-0%-0%-0%-0%-20%-25% 75%-75%-0%-0%-0%-75%-33%(32014) (32014) (40123) (--++) (--++) (-+++) (++-) (++-+) (1230) (02314) (21340) (3120) (-++-) (-+-)

Development Segmentation Row Form Cseg CASPrimary Thememm. 1-18 ob 4-6-3-4-7-5 P3, R3, I3 (2031) (024531) (021) (1032) (-+-) (+++--) (+-) (-+-) (+-) (+-) (+-)

(120) (120) (120) (24031) (+-+-)mm. 143-144 pic 3 P3 75% 67%

(102) (-+)mm. 145-146 bn 3 P3 33% 67%

(201) (-+)mm. 147- 150 bn 3-4-5 P3 100%-75%-0% 100%-67%-50%

(120) (1203) (32140) (+-) (+-+) (--+-)mm. 151-157 pic 5-5-5-5 P3,I3, RI3 20%-0%-20%-40% 50%-25%-100%-25%

(42130) (12304) (12043) (--+-) (++-+) (+-+-) (++-+)(23401)

mm. 152-158 cl 5-5-5-5 P3, I3,RI8,I8 0%-100%-40%-60% 50%-100%-50%-100%(32140) (24031) (21043) (--+-) (+-+-) (--+-) (+-+-) (23041)

mm. 172-176 ob 3-4-5 R3 0%-0%-40% 0%-67%-75%(021) (2130) (21043) (+-) (-+-) (--+-)

mm 175-178 hn 3-4-5 R3(T6) 0%-0%-40% 0%-67%-75%(021) (2130) (21043) (+-) (-+-) (--+-)

Secondary Thememm. 28-34 ob 4-4-5-3 P3, R3, I3, RI3 (3210) (2103) (02341) (201) (---) (--+) (+++-) (-+)mm. 191-195 hn 4-4 P3 100%-100% 100%-100%

(3210) (3210) (---) (---)mm. 191-199 cl 4-4 P3 50%-80% 67%-75%

(2301) (0123) (+-+) (+++)mm. 191-195 bn 4-4 P3 50%-80% 67%-75%

(2301) (0123) (+-+) (+++)192-193 ob. 3 I3 100% 100%

(201) (-+)

Primary thememm. 1-5 ob 4-6 P3 (2031) (024531) (-+-) (+++--)mm. 203-207 cl 4-5 I3 0%-17% 0%-0%

(1302) (32104)mm. 203-208 hn 4-5 I3 0%-17% 0%-0%

(0312) (32104)mm. 204-206 ob 6 I3 17% 40%

(154302) (+---+)mm. 205-207 bn 6 I3 17% 40%

(043215) (+---+)mm. 207-211 pic 6 I3 17% 40%

(043152) (+--+-)mm. 207-211 cl 3-6 I3, I8 33%-17% 25%-40%

(021) (043152) (+-) (+--+-)mm. 207-208 hn 3 I3 33% 25%

(021) (+-)


272

mm. 57-59 cl 80% 88% 22%{0120} [0000100] <+2+2+14-13>

Trio IOIseg Dseg OPISTrio Thememm. 94-100 ob {100} {120} {000} [20113] [11002] [22101] <-3-10+14> <-8-2+11> <+2+2-8>mm. 108-114 cl 100%-100%-100% 60%-100%-80% 67%-67%-100%

[30112] [11002] [22103] <-1-10+14> <-8-2+9> <+2+2-8>mm. 110-115 bn 67%-100%-100% 80%-43%-100% 67%-67%-100%

{000} {120} {000} [00112] [3210004] [22103] <-1-10+14> <-8-2+9> <+2+2-8>mm. 117-131 bn 0%-0%-0%-67%-75%-50%-33% 0%-0%-0%-40%-0%-57%-0% 75%-0%-40%-33%-0%-0%-0%

{0121} {0210} {22120} {110} [000000001] [0000000001] [0000000001002] <-1-10-10+14> <-2-15+2+15> <-8+2+2+2-13> {1203} {0010} {012} [01102] [3201143] [2104103] [203134] <+3+10-15><+8+2-13+10> <-2+8+2-9>

<-14+10-16>mm. 118-132 ob 0%-0%-0%-50%-75%-50%-33% 0%-33%-29%-50%-0%-0%-0% 25%-50%-100%-33%-75%-75%-100%

{0121} {0210} {20212} {102} [00001002] [001000002] [0010121] [101102] <-3-10+2+14> <-2-13+2+14> <-8+2+2+2-13> {1203} {0010} {001} [12031] [2103103] [2034115] <+1+10-14><+8+2-9+10> <-2+8+2-11> <-14+10-16>

Development IOIseg Dseg OPISPrimary Thememm. 1-18 ob {101} {01202} {01} {100} {10} [20001] [00001000] [010] [32011] [1000] <-10+11-2-8+2+2+2-3-2> <+2-1> <-6+13-2>

{10} {10} {11210} [1000] [102] [110000] <+10-11> <+14-16> <+10-14> <+3-10+8-2>mm. 143-144 pic 67% 80% 67%

{10} [1000] <-10+11>mm. 145-146 bn 67% 80% 33%

{10} [1000] <-10+9>mm. 147- 150 bn 100%-33%-20% 25%-25%-30% 0%-0%-0%

{10} {001} {0000} [201] [0021] [10102]mm. 151-157 pic 20%-20%-20%-20% 30%-30%-30%-30% 0%-0%-0%-0%

{0000} {0000} {0000} {0000} [10102] [10102] [10102] [10102]

mm. 152-158 cl 20%-20%-20%-20% 30%-30%-30%-30% 0%-100%-0%-25%{0000} {0000} {0000} {0000} [10102] [10102] [10102] [10102] <-1-2+4-10> <+3-10+8-2> <-2-2+10-4>

<+2-10+14-8>mm. 172-176 ob 100%-33%-0% 20%-25%-33% 0%-0%-0%

{10} {001} {00001} [201] [0021] [101012]mm 175-178 hn 100%-33%-0% 50%-25%-63% 0%-0%-0%

{10} {001} {00001} [102] [0021] [10100000]

Secondary Thememm. 28-34 ob {000} {000} {0000} {01} [0001] [0001] [00001] [120] <-2-3-2> <-2-3+6> <+9+2+4-11> <-10+9>mm. 191-195 hn 100%-67% 100%-50% 100%-100%

{000} {100} [0001] [1002] <-2-3-2> <-2-3-2>mm. 191-199 cl 100%-50% 100%-40% 0%-0%

{000} {100} [0001] [2001]mm. 191-195 bn 100%-50% 100%-40% 0%-0%

{000} {100} [0001] [2001]192-193 ob. 100% 0% 0%

{01} [011] <-2+1>

Primary thememm. 1-5 ob {101} {01202} [20001] [00001000] <-10+11-2-8+2+2+2-3-2>mm. 203-207 cl 100%-80% 80%-88% 0%

{101} {0120} [10000] [0000100]mm. 203-208 hn 100%-80% 80%-88% 0%

{101} {0120} [10000] [0000100]mm. 204-206 ob 80% 88% 0%

{30120} [00000100]mm. 205-207 bn 80% 88% 0%

{30120} [00000100]mm. 207-211 pic 0% 75% 0%

[000100]mm. 207-211 cl 33%-40% 60%-63% 0%-0%

{00} {00100} [000] [000000]mm. 207-208 hn 33% 60% 0%

{00} [000]


273

mm. 208-209 bn 6 I3 17% 40%(043152) (+--+-)

mm. 209-210 ob 6 I3 17% 40%(043152) (+--+-)

mm. 210-214 cl 6-6 I3, RI3 17%-0% 20%-60%(043215) (512340) (+---+) (-+++-)

mm. 211-214 bn 6-6 I3, RI3 0%-0% 20%-60%(+---+) (-+++-)

mm. 211-214 hn 6-6 RI3, I3 0%-0% 60%-0%(-++-+) (----+)

mm. 211-214 ob 6-6 RI3, I3 0%-33% 60%--40%(102354) (054312) (-+++-) (+---+)

primary thememm. 12-18 3-3-3-5 I3 (120) (120) (120) (24031) (+-) (+-) (+-) (+-+-)mm. 214-218 pic 3-3-3-3 RI3 100%-0%-0%-33% 100%-100%-100%-100%

(120) (021) (021) (102)mm. 217-220 hn 3-3-3-3 RI8 0%-100%-33%-0% 0%-100%-100%-0%

(201) (120) (021) (201)

Secondary thememm. 35-36 8-10 P3 (30121212) (0202021212) (-++-+-+) (+-+-+-+-)mm. 221-222 pic 8-8 I8 0%-60% 0%-88%

(03212121) (02020201) (+--+-+-) (+-+-+-+)mm. 222-223 cl 8-8 I8 0%-60% 0%-88%

(03212121) (01010102) (+--+-+-) (+-+-+-+)mm. 222-224 bn 4-6-8 RI3 0%-11%-0% 0%-43%-75%

(1230) (021212) (34320201) (++-) (+-+-+) (+---+-+)mm. 223-225 hn 4-6-8 RI8 0%-11%-0% 0%-43%-75%

(1230) (021212) (34310102) (++-) (+-+-+) (+---+-+)

Primary thememm. 2-5 ob 6 P3 (501342) (-+++-)mm. 226-227 ob 6 I8 0% 0%

mm. 226-227 hn 6 I8 0% 0%

mm. 227 bn 6 I8 0% 0%

Primary theme mm. 1-5 ob and mm. 25-27 hn 4-6-3-3 P3; I3 (2031) (024531); (012) (012) (-+-) (+++--); (++) (++)mm. 227-234 ob 3-3-3-3 I8 25%-25%-100%25% 0%-0%-100%-0%

(120) (120) (012) (120) mm. 227-234 pic 3-3-3-3-3 I3 25%-0%-25%-0%-0% 0%-0%-0%-0%-0%

(120) (021) (120) (021) (021)mm. 228-234 cl 3-3-3-3-3-4 I3 0%-100%-100%-33%-100%-0% 0%-100%-100%-0%-100%-100%

(021) (012) (012) (210) (012)(3120)

mm. 228-234 bn 3-3-3-3-3 I3, I8 25%-25%-100%-25%-0% 0%-0%-100%-0%-0%(120) (120) (012) (120) (021)

mm. 228-234 hn 3-3-3 I8 25%-25%-25% 0%-0%-0%(120) (120) (120)

mm. 234-235 pic 6 RI8, P3 0% 0%

mm. 235-240 hn 4-5 P3 100%-17% 100%-80%(2031) (01342) (-+-) (+++-)


Primary thememm. 1-18 ob 4-6-3-4-7-5 P3, R3, I3 (2031) (024531) (021) (1032) (-+-) (+++--) (+-) (-+-) (+-) (+-) (+-)

(120) (120) (120) (24031) (+-+-)mm. 240-247 cl 4-6-2 P3 50%-33%-67% 100%-100%-50%

(3021) (013542) (01) (-+-) (+++--) (+)

Development Segmentation Row Form Cseg CAS


274

mm. 208-209 bn 40% 63% 0%{00100} [000000]

mm. 209-210 ob 40% 63% 0%{00100} [000000]

mm. 210-214 cl 40%-0% 11%-67% 0%-33%{01231} {20111} [0111112] [100000000] <+8-2-2-2+15> <-15+2+2+2-8>

mm. 211-214 bn 40%-0% 11%-67% 0%-33%{01231} {20111} [0111112] [100000000] <+8-2-2-14+10> <-10+2+2+2-8>

mm. 211-214 hn 40%-17% 11%-71% 22%-0%{01231} {201000] [01111213] [1000000] <-3+2+2-10+16> <-4-2-2-2+3>

mm. 211-214 ob 40%-0% 11%-67% 22%-0%{01231} {20111} [0111112] [100000000] <-1+2+2+14-8> <+8-2-2-2+1>

primary thememm. 12-18 {10} {10} {10} {11210} [1000] [1000] [102] [110000] <+10-11> <+14-16> <+10-14> <+3-10+8-2>mm. 214-218 pic 100%-100%-100%-100% 100%-100%-100%-100% 0%-50%-0%-0%

<+9-10> <+14-8> <+13-10> <-10+16>mm. 217-220 hn 0%-100%-100%-0% 0%-75%-100%-25% 0%-50%-50%-50%

[011] [100] [1000] [0011] <-3+2> <+2-8> <+11-10> <-10+4>

Secondary thememm. 35-36 {0010000} {00000000} [000000000] [0000000000] <-8+2+2-2+2-2+2> <+2-2+2-2+2-1+1-1>mm. 221-222 pic 100%-88% 100%-89% 0%-88%

{0010000} {0000000} [000000000] [00000000] <+8-2-2+2-2+2-2> <+2-2+2-2+2-2+1>mm. 222-223 cl 100%-88% 100%-89% 0%-88%

{0010000} {0000000} [000000000] [00000000] <+8-2-2+2-2+2-2> <+2-2+2-2+2-2+3>mm. 222-224 bn 0%-71%-100% 0%-89%-100% 0%-43%-50%

{1230} {10000} {0000000} [111203] [100000000] [00000000] <+2+2-8> <+8-2+2-2+2> <+2-2-2-2+2-2+1>mm. 223-225 hn 0%-71%-100% 0%-89%-100% 0%-43%-50%

{1230} {10000} {0000000} [111203] [100000000] [00000000] <+2+2-8> <+8-2+2-2+2> <+2-2-2-2+2-2+1>

Primary thememm. 2-5 ob {30120} [20000100] <+8+2+2+2-3>mm. 226-227 ob 0% 0% 0%

mm. 226-227 hn 0% 0% 0%

mm. 227 bn 40% 50% 0%(00000} [000000]

Primary theme mm. 1-5 ob and mm. 25-27 hn {101} {01202} ; {20312} [20001] [00001000]; [2011200] <-10+11-2> <+2+2+2-3-2>; <+10+3>

<+8+10>mm. 227-234 ob 67%-67%-40%-67% 80%-80%-14%-80% 0%-0%-100%-0%

{10} {10} {10} {10} [1000] [1000] [1000] [1000]mm. 227-234 pic 67%-67%-67%-67%-67% 80%-80%-80%-80%-80% 0%-0%-0%-0%-0%

{10} {10} {10} {10} {10} [1000] [1000] [1000] [1000] [1000]mm. 228-234 cl 67%-67%-67%-67%-0%-67% 80%-80%-80%-80%-60%-25% 0%-100%-100%-0%-0%-0%

{10} {10} {10} {10} {01} {001} [1000] [1000] [1000] [1000] [0000] [0011]

mm. 228-234 bn 67%-67%-40%-67%-0% 80%-80%-25%-80%-75% 0%-0%-100%-0%-0%{10} {10} {10} {10} {01} [1000] [1000] [1000] [1000] [0000]

mm. 228-234 hn 67%-67%-33% 80%-80%-60% 0%-0%-0%{10} {10} {00} [1000] [1000] [000]

mm. 234-235 pic 0% 71% 0%[2000111]

mm. 235-240 hn 100%-60% 60%-63% 100%-80%{101} {0121} [10002] [0000213] <-10+11-2> <+2+2+2-3>

Recapitulation IOIseg Dseg OPISPrimary thememm. 1-18 ob {101} {01202} {01} {100} {10} [20001] [00001000] [010] [32011] [1000] <-10+11-2-8+2+2+2-3-2> <+2-1> <-6+13-2>

{10} {10} {11210} [1000] [102] [110000] <+10-11> <+14-16> <+10-14> <+3-10+8-2>mm. 240-247 cl 67%-100%-50% 80%-75%-67% 67%-0%

{001} {01202} {0} [10001] [00002011] [01] <-10+9-2-8+2+2+14-13-2> <+38>

Development IOIseg Dseg OPIS


275

mm. 241-247 bn 4-6-2 P3 100%-33%-67% 100%-100%-50%(2031) (012543) (01) (-+-) (+++--) (+)

mm. 247-251 hn 3-4 R3 33%-100% 50%-100%(012) (1032) (++) (-+-)

mm. 248-251 cl 3-4 R3 33%-100% 50%-100%(012) (1032) (++) (-+-)

mm. 252-258 cl 3-3-3-5 I3 100%-100%-100%-100% 100%-100%-100%-100%(120) (120) (120) (24031) (+-) (+-) (+-) (+-+-)

mm. 19-23 bn 6 P3 (514302) (-+--+)mm. 259-261 ob 6 P3 67% 100%

(504312)mm. 261-263 bn 6 R3 0% 100%

mm. 23-27 hn, cl, ob 6; 6; 6 R3; R3; I3 (014325); (045132); (024135) (++--+); (++-+-); (++-++)mm. 263-265 hn 6 R3 100% 100%

(014325) (++--+)mm. 264-266 ob 6 I3 67% 100%

(035142) (++-+-)mm. 265-267 pic 6 I3 67% 100%

(034125) (++-++)

Secondary thememm. 191-195, hn, cl, bn, ob 4-4; 4-4; 4-4; 3 P3; P3; P3; I3 (3210) (3210); (2301) (0123); (---) (---); (+-+) (+++); (+-+) (+++);

(2301) (0123); (201) (-+)mm. 268-274 ob 4-4-4-3 P3, R3, RI3 0%-0%-0%-100% 0%-0%-67%-100%

(1032) (1032) (1230) (201) (-+-) (-+-) (++-) (-+)mm. 268-274 hn 4-4-4-3 P3, R3, RI3 0%-0%-0%-0% 0%-100%-67%-0%

(+++) (+-+) (++-) (+-)mm. 268-274 bn 4-4-4-3 P3, R3, RI3 0%-50%-25%-25% 0%-0%-0%-100%

(0123) (3120) (2130) (0312) (+++) (-+-) (-+-) (+-+)mm. 40-49 cl and 41-44 pic 3; 3-3-3; 5-3-3-4-5 I3, RI3, P3; I3, RI3 (120); (021) (120) (021); (+-); (+-) (+-) (+-); (-++-) (-+) (+-)

(41230) (201) (021) (1203) (42130) (+-+) (--+-)mm. 280-291 cl 3-5-6-3-3-3-4-5 I3, RI3, I3, P3 33%-100%-33%-33%-33%-33%- 100%-100%-80%-0%-100%-100%-

100%-60% 100%-100%(021) (41230) (213450) (021) (102) (+-) (-++-) (-+++-) (+-) (-+) (+-) (120) (1203) (32140) (+-+) (--+-)

Trio Primary thememm. 94-100 ob 4-4-4 RI0 (2103) (2103) (1230) (--+) (--+) (++-)mm. 329-334 ob 4-4-4 RI9 100%-100%-100% 100%-100%-100%

mm. 123-132 bn 4-5-5-4 P3, RI3 (1230) (02314) (21340) (3120) (++-) (++-+) (-++-) (-+-)mm. 330-341 cl 4-5-5-3-6 R3, I3 100%-100%-60%-0%-0% 100%-100%-100%-0%-0%

(1230) (02314) (20342) (120) (043215)




276

mm. 241-247 bn 67%-100%-50% 80%-75%-67% 67%-0%{001} {01202} {0} [10001] [00002011] [01] <-10+11-2-8+2+2+26-15-2> <+26>

mm. 247-251 hn 0%-100% 0%-100% 0%-67%{10} {100} [102] [32011] <+1+10> <-6+15-2>

mm. 248-251 cl 0%-100% 0%-100% 0%-100%{10} {100} [102] [32011] <+3+10> <-6+13-2>

mm. 252-258 cl 100%-100%-100%-100% 100%-100%-100%-100% 100%-100%-100%-100%{10} {10} {10} {11210} [1000] [1000] [102] [110000] <+10-11> <+14-16> <+10-14> <+2-10+8-2>

mm. 19-23 bn {21220} [2000102] <-10+9-2-8+2>mm. 259-261 ob 100% 86% 80%

[2000103] <-10+11-2-8+2>mm. 261-263 bn 100% 86% 20%

[2000103] <-11+10-2-2+8>mm. 23-27 hn, cl, ob {20312}; {20312}; {20312} [2011200]; [2031200]; [2011200] <+1+10-2-2+8>; <+10+1-10+8-2>; <+10+3-10+8+10>mm. 263-265 hn 100% 86% 80%

{20312} [2011201] <+3+10-2-2+8>mm. 264-266 ob 100% 100% 80%

(20312} [2031200] <+10+3-10+8-2>mm. 265-267 pic 100% 86% 80%

{20312} [2011201] <+10+1-10+8+10>

Secondary thememm. 191-195, hn, cl, bn, ob {000} {100}; {000} {100}; {000} [0001] [1002]; [0001] [2001]; [0001] <-2-3-2> <-2-3-2>; <+1-6+1> <+3+4+1>; <+1-10+5>

{100}; {01} [2001]; [011] <+4+4+2>; <-2+1>mm. 268-274 ob 100%-100%-100%-100% 100%-0%-100%-0% 0%-0%-0%-0%

{000} {000} {000} {01} [0001] [2223010] [0001] [120]mm. 268-274 hn 100%-33%-33%-0% 100%-80%-0%-33% 0%-0%-33%-0%

{000} {021} {012} {10} [0001] [01002] [13204] [210] <+3+4+1> <+9-13+6> <+2+2-2> <+7-8>mm. 268-274 bn 100%-100%-67%-67% 100%-100%-25%-0% 100%-0%-0%-0%

{000} {000} {101} {010} [0001] [0001] [1010] [1210] <+3+4+1> <-8+2-7> <-8+9-13> <+14-9+3>mm. 40-49 cl and 41-44 pic {10}; {10} {10} {01}; {1002} {00} [1000]; [1000] [1000] [00000]; <+10-11>; <+10-9> <+9-10> <+14-8>;

{10} {001} {0000} [00000100] [100] [201] [0021] [10101] <-10+2+2-8-8+2> <+2-1> <+4-10+14> <-3-2+4-10>mm. 280-291 cl 100%-80%-40%-100%-100%- 80%-100%-25%- 67%-67%-67%-100%- 50%-67%-50%-0%-100%-100%-75%

100%-100%-100% 100%{10} {10021} {00001} {00} {00} [10002] [00000100] [1111100] [000] <+10-9> <-10+2+2-8> <-1+2+2+2-8> <+8-2> {10} {001} {0000} [110] [101] [0021] [10101] <-2+13> <+2-1> <+4-10+14> <-1-2+4-10>

Trio Primary thememm. 94-100 ob {100} {120} {000} [20113] [11002] [22101] <-3-10+14> <-8-2+11> <+2+2-8>mm. 329-334 ob 0%-100%-100% 80%-100%-80% 100%-100%-100%

[0112] [11002] [22103]mm. 123-132 bn {102} {1203} {0010} {001} [101102] [12031] [2103103] [2034115] <+1+10-14> <+8+2-9+10> <-2+8+2-11> <-14+10-16>mm. 330-341 cl 100%-25%-50%-33%-20% 83%-0%-50%-0%-0% 100%-100%-67%-0%-0%

{012} {0101} {000000} {0} [01102] [21301141] [2102102103] [01] <+1+10-14> <+8+2-9+10> <-2+8+2-11+10-14> <-16> {01200} [0000001] <+8-2-2-2+13>




277

Comparison Chart for Third MovementSectionA Segmentation Row Form Cseg CASPrimary Thememm. 1-7 hn 3-3-4-2 P3 (210) (201) (2031) (01) (- -) (-+) (-+-) (+)mm. 8-14 cl 3-3-4-2 I3 33%-33%-0%-0% 50%-100%-0%-0%

(120) (102) (1302) (10) (-+) (-+) (+-+) (-)mm. 15-19 bn 3-4-5 P3(T3) 0%-50%-40% 50%-67%-0%

(201) (3012) (13204) (-+) (-++) (+--+)mm. 22-30 fl 3-4-3-3-3-3-3-3 R3, P3 33%-75%-75%-67%-33% 50%-67%-67%-0%

-0%-75%-67% -50%-0%-67%-0%(120) (3021) (102) (210) (+-) (-+-) (-+) (--) (+-) (120) (120) (102) (210) (+-) (-+) (--)

Subordinate Theme 1mm. 1-7 bn 4-4-4-3-4-4-3 P3 (3120) (3120) (1203) (210) (3120) (3021) (120) (-+-) (-+-) (+-+) (- -) (-+-) (-+-) (-+)mm. 8-14 hn 3-4-3-3-4-4-2 I3 0%-25%-25%-100%-50%-50%-0% 0%-67%-67%-100%-33%-33%-0%

(021) (0132) (021) (210) (3102)(3201) (01) (+-) (++-) (+-) (- -) (- -+) (--+) (+)mm. 15-19 ob 4-4-3-3-4-3-3 P3(T3) 50%-50%-75%%-0%100%-75%-33%-75%-30% 67%-33%-67%-33%-100%-67%-100%

(3210) (3102) (120) (021) (3120) (201) (102) (---) (--+) (+-) (+-) (-+-) (-+) (-+)mm. 22-30 hn 3-3-4-3 I3 75%-75%-0%-0% 0%-67%-67%-50%

(120) (102) (0321) (021) (+-) (-+) (+--) (+-)B Segmentation Row Form Cseg CASSubordinate Theme 2mm. 34-39. bn 7-5-7-4-3-7-6-4 I9(T9) (5360421) (23014) (31042) (3120) (-+-+--) (+-++) (-+--+-) (-+-)

(201) (340251) (124350) (0101) (-+) (+--++-) (++-+-) (+-+)mm. 46-47 cl 7 I9(T9) 100% 100%

(5360421) (-+-+--)mm. 47-48 hn 7 I2(T9) 100% 100%

(5360421) (-+-+--)mm. 48-49 ob 7 I9(T3) 43% 100%

(6450321) (-+-+--)mm. 49-52 fl 5-5-3-4-4-6-4 I9(T4) 100%-100%-0%-75%-17%-0%-25% 100%-100%-0%-67%-

33%-40%-0%(23014) (31042) (120) (3021) (+-++) (-+--+-) (+-) (-+-) (1203) (043215) (3021) (+-+) (+---+) (-+-)

mm. 49-52 ob 5-5-4 I2(T4) 100%-100%-50% 100%-100%-100%(23014) (31042) (3120) (+-++) (-+--+-) (-+-)

Subordinate Theme 1 Dev.mm. 1-7 bn 4; 4 P3 (3120); (1203) (-+-); (+-+)mm. 40-45 ob 4-5-4-4-4-4-3-3-5-5-3-3 RI2(T9) 100%-80%-50%-100%-100%- 100%-75%-75%-100%-100%-100%-67%-33%-75%-75%-67%-67%

100%-25%-0%-40%-75%-25% 67%-33%-75%-75%-67%-67%(1203) (41230) (2130) (1203) (3120) (1203) (+-+) (-++-) (-++-) (+-+) (-+-) (+-+) (-+) (102) (012) (31042) (02103) (120) (102) (++) (--+-) (+--+) (+-)(-+)

mm. 40-45 cl 4-5-5-4-4-4-3-3-5-5-3-3 RI2(T3) 100%-80%-80%-100%-50%-100%-25%-0%- 100%-75%-75%-100%-100%-100%-0%-80%-75%-25% 67%-33%-75%-75%-67%-67%(1203) (41230) (41230) (1203) (2130) (1203) (+-+) (-++-) (-++-) (+-+) (-+-) (+-+) (-+) (++) (102) (012) (21043) (13204) (120)(102) (--+-) (+--+) (+-) (-+)

Primary Theme Dev.mm. 8-13 cl 3-3-4 I3 (120) (102) (1302) (+-) (-+) (+-+) mm. 53-60 fl 3-3-3-4 R9(T6) 100%-0%-100%-100% 100%-0%-100%-100%

mm. 68-75 cl 3-3-3-4 RI2(T6) 33%-33%-33%-0% 100%-0%-0%-100%(102) (201) (201) (3210)

Primary and Sub. Theme 21-4 bn., 3-4 hn and 34-35 bn 4; 3; 6 P3, I9(T10) (3120); (201); (350421) (-+-); (-+); (+-+--)mm. 61-68 ob 6-5-5- R9 0%-60%-20% 60%-0%-80%

(432150) (04321) (20431) (---+-) (+---) (-+--)mm. 61-68 hn 6-6-5 R9 60%-33%-20% 60%-0%-80%

(432031) (405321) (20431) (---+-) (-+---) (-+--)


278

A IOIseg Dseg OPIS

Primary Thememm. 1-7 hn {10} {01} {010} {0} [101] [01213] [0102] [00012] <-3 -2> <-10+6> <-6+13-10> <+2>mm. 8-14 cl 100%-100%-100%-100% 100%-100%-0%-100% 0%-50%-0%-0%

<+7-10> <-10+14> <+6-13+10> <-14>mm. 15-19 bn 100%-67%-0% 67%-0%-0% 0%-33%-0%

{10} {012} {102} [201] [10342] [2031] <-7+2> <-8+1+6> <+5-2-5+10>mm. 22-30 fl 100%-0%-0%-100%0%-0%-67%-33% 100%-10%-0%-0%-33%-0%-0%-40% 0%-0%-0%-0%-0%-0%-33%-0%

{10} {110} {10} {0} {01} {10} {10} {021} [101] [00102] [2013] [10] [021] <+5-10> <-19+20-13> <-1+10> <-5-2> [22301] [201] [0211] <+14-19> <+1-6> <-6+7> <-14-17>

Subordinate Theme 1mm. 1-7 bn {000} {000} {000} {01} {100} {000} {01} [0001] [0001] [0000] [0000] [00001] <-10+2-10> <-10+2-10> <+6-10+11>

[0001] [010] <-10 -6> <-11+10-18> <-13+10-8> <+9-14>mm. 8-14 hn 67%-100%-67%-100%- 75%-100%-50%-67%-40%-100%-67% 0%-0%-0%-100%-33%-0%-0%

{00} {000} {00} {01} {100} {000} {0} [001] [0001] [001] [000000] [1002] <+10-2> <+10+10-1> <+10-2> <-10-6> [0001] [01] <-11-10+15> <-11-10+8> <+3>

mm. 15-19 ob 33%-33%-33%-0%-100%-100%-50% 25%-40%-25%-50%-40%-100%-67% 0%-0%-0%-0%-0%-0%-0%{011} {210} {01} {10} {100} {000} {0} [0112] [10002] [011] [2001] [1002]

[0001] [01]mm. 22-30 hn 33%-33%-33%-50% 40%-25%-33%-25% 33%-0%-33%-0%

{10} {10} {210} {01} [01002] [2102] [310002] [120] <+3-10> <-2+6> <+6-1-2> <+7-2>

B IOIseg Dseg OPIS

Subordinate Theme 2mm. 34-39. bn {310002} {1000} {200031} {201} {01} [4100023] [10002] [1000203] [2013] <-2+3-10+8-2-2> <+1-10+8 +10> <-2-2+2-2-9+10-4>

{300214} {31204} {000} [012] [30002145] [312054] [0001] <-14+10-14> <-10+8> <+2-2-14+10+15-22> <+10+10-2+15-34> <+10-10+10>

mm. 46-47 cl 100% 86% 100%{310002} [3100022] <-2+3-10+8-2-2>

mm. 47-48 hn 100% 100% 100%{310002} [4100023] <-2+3-10+8-2-2>

mm. 48-49 ob 100% 100% 80%{310002} [4100023] <-2+1-10+8-2-2>

mm. 49-52 fl 100%-100%-33%-67%-50%-29%-67% 100%-86%-0%-75%-25%-25%-75% 100%-86%-100%-50%-0%-0%-0%{1000} {200031} {00} {012} {1002} [10002] [2000314] [110] [0120] <+1-10+8+10> <-2-2+2-2-9+14-4> <-14+10-14> <-10+9> {0100020} {001} [10023] [01000203] [0011] <-2+2-2-2+15-10> <-2+2-2-2-2+13-22> <+8-2>

mm. 49-52 ob 100%-100%100% 100%-86%-100% 50%-86%-100%-0%-0%-0%{1000} {200031} {201) [10002] [2000314] [2013] <+1-6+5+10> <-2-2+2-2-9+14-4> <-14+10-14> <-11+9>

<-2+2-2-2+15-10> <+8-2>Subordinate Theme 1mm. 1-7 bn {000}; {000} [0001]; [0000] <-10+2-10>; <+6-10+11> mm. 40-45 ob 100%-25%-50%-25%-67%-67%-75%- 100%-20%-57%-60%-60%-80%-80%- 0%-50%-50%-33%-67%-33%-0%-0%-25%-0%-0%

50%-40% 67%{000} {0111} {021000} {0100} {00} {00} [0001] [01112] [0210003] [02001] <+2-8+10> <-10+2+2-8> <-1+2+2-10> <+2-10+16> 0001} {1000} {10000} [001] [001] [00021] [10002] [100000] <-3+2-10> <+2-10+14> <-2+11> <+2+14> <-2-3+14-10>

<+4-2-2+15> <+2-8+10-3+14>mm. 40-45 cl 100%-25%-50%-25%-67%-67%-75%- 100%-20%-57%-60%-60%-80%-80%- 0%-50%-50%-33%-67%-33%-0%-0%-25%-0%-0%

50%-40% 67%{000} {0111} {021000} {0100} {00} {00} [0001] [01112] [0210003] [02001] <+2-8+10> <-10+2+2-8> <-15+2+2-10> <+2-10+16> {0001} {1000} {10000} [001] [001] [00021] [10002] [100000] <-1+2-10> <+2-10+14> <-2+9> <+2+14> <-2-2+14-10>

<+4-2-3+14> <+2-8+10-1+14>Primary Theme Dev.mm. 8-13 cl {10} {01} {010} [101] [01213] [103104] <+7-10> <-10+14> <+6-13+10> mm. 53-60 fl 0%-0%-50%-67% 17%-50%-0%-11% 50%-0%-0%-33%

{01} {10} {00} {210} [12013] [112103] [00101000] <+3-10> <+17-9> <+13-18> <+10-15+10>[111112101]

mm. 68-75 cl 0%-0%-50%-33% 17%-50%-0%-22% 50%-0%-0%-0%{01} {10} {00} {100} [12013] [112103] [00101000] <-3+10> <-29+21> <-25+18> <-10-9-11>

[0000000001]Primary and Sub. Theme 21-4 bn; 3-4 hn; 34-35 bn {000}; {01}; {10002} [0001]; [01213]; [100023] <10+2-10>; <+10-6>; <+3-10+8-2-2>mm. 61-68 ob 60%-50%-17% 50%-0%-14% 0%-0%-40%

{00001} {1001} {111200} [00000201] [1000201] [1112001] <-2-1-2+6-10> <+11-2-2-1> <-10+15-4-2>mm. 61-68 hn 60%-50%-80% 50%-0%-33% 0%-0%-60%

{00001} {10002} {0001} [00000201] [1000201] [000201] <-2-2-2+8-7> <-10+11-2-2-1> <-10+13-2-2>


279

A' Segmentation Row Form Cseg CASPrimary Thememm. 1-7 hn. 3-3-4-2 P3 (210) (201) (2031) (01) (- -) (-+) (-+-) (+)mm. 82-89 ob. 3-3-4-2-4 R3 33%-100%-25%-0%-0% 50%-100%-100%-0%-0%

(120) (201) (2130) (10) (1032) (+-) (-+) (-+-) (-) (-+-)mm.90-96 fl. 3-3-4-2 RI3 100%-33%-0%-0% 50%-100%-100%-0%

(120) (102) (3120) (10) (+-) (-+) (-+-) (-)mm.97-101 hn. 3-4-5 P3(T9) 50%-50%-0% 50%-67%-25%

(201) (2031) (13204) (-+) (-+-) (+--+)mm. 104-110 hn 3-3-4-2 P3 100%-100%-50%-0% 100%-100%-0%-0%

(210) (201) (2301) (10)mm. 110-113 hn 3-3-3 P3 33%-0%-0% 50%-0%-67%

(120) (120) (120) (+-) (+-) (+-)

Subordinate Theme 1mm. 1-7 bn 4-4-4-3-4-4-3 P3 (3120) (3120) (1203) (210) (3120) (3021) (120) (-+-) (-+-) (+-+) (- -) (-+-) (-+-) (+-)mm. 82-89 bn 4-4-4-3-4-4-2 R3 0%-0%-50%-100%-25%-25%-33% 0%-0%-100%-100%-0%-33%-0%

(0213) (0213) (0213) (210) (2310) (3102) (10) (+-+) (+-+) (+-+) (--) (+-+) (--+) (-)mm. 90-96 hn 4-4-4-3-3-5-2 RI3 0%-0%-25%-33%-0%-0%-33% 100%-100%-33%-50%-33%-75%-0%

(2031) (2031) (0231) (120) (210) (24130) (10) (-+-) (-+-) (++-) (+-) (--) (+-+-) (-)mm. 97-101 bn 4-4-3-3-4-6 P3(T9) 50%-25%-25%-33%-100%-40% 67%-33%-33%-0%-100%-40%

(3210) (2103) (210) (012) (3120) (501234) (---) (--+) (--) (++) (-+-) (-++++)mm. 101-102 ob. 4 100% 100%

(3120) (-+-) m. 102 fl. 4 100% 100%

(3120) (-+-)m. 103 fl. 4-3-6-4-4 50%-75%-50%-25%-100% 100%-67%-60%-0%-100%

(3102) (201) (420315) (0132) (3120) (-+-) (-+) (--+-+) (++-) (-+-)m. 103 hn. 4 0% 0%

mm. 104-110 bn 4-4-4-3-4-4-2 P3 100%-100%-100%-100%-100%-100%-33% 100%-100%-100%-100%-100%-100%-50%

(3120) (3120) (1203) (210) (3120) (3021) (10) (-+-) (-+-) (+-+) (--) (-+-) (-+-) (-)mm. 110-113 ob 4-4-4 R3 0%-0%-50% 0%-0%-100%

(1203) (2301) (1302) (+-+) (+-+) (+-+)

A' IOIseg Dseg OPISPrimary Thememm. 1-7 hn. {10} {01} {010} {0} [101] [01213] [0102] [00012] <-3 -2> <-10+6> <-6+13-10> <+2>mm. 82-89 ob. 100%-100%-100%-100%-0% 100%-100%-100%-100%-0% 0%-50%50%-0%-0%

<+5-10> <-7+6> <-6+11-14> <-2> <-2+7-2>mm.90-96 fl. 100%-100%-100%-100% 100%-100%-100%-100% 50%-50%-0%-0%

<+7-2> <-5+6> <-18+11-22> <-10>mm.97-101 hn. 100%-67%-0% 100%-0%-0% 0%-0%-0%

{10} {021} {201}mm. 104-110 hn 100%-100%-33%-100% 100%-100%-75%-20% 100%-100%-33%-0%

{10} {01} {021} {0} [101] [01213] [0100] [102] <-3-2> <-10+6> <+6-11+2> <-10>mm. 110-113 hn 0%-100%-33% 50%-60%-50% 0%-0%-0%

{01} {01} {00} [2301] [1210] [000]Subordinate Theme 1mm. 1-7 bn {000} {000} {000} {01} {100} {000} {01} [0001] [0001] [0000] [0000] [00001] <-10+2-10> <-10+2-10> <+6-10+11> <-10 -6>

[0001] [010] <-11+10-18> <-13+10-8> <+9-14>mm. 82-89 bn 100%-100%-100%-50%-100%-100%-50% 100%-100%-100%-75%-100%-100%- 0%-0%-0%-50%-0%-0%-0%

75%{000} {000} {000} {00} {100} {000} {0} [0001] [0001] [0000] [0010] [00001] <+10-2+10> <+11-2+10> <+13-2+6> <-10-1> <+6-10-9>

[0001] [0102] <-4-10+13> <-16>mm. 90-96 hn 100%-100%-33%-100%-67%-75%-50% 100%-100%-50%-100%-40%-80%-25% 67%-67%-0%-0%-0%-0%-0%

{000} {000} {102} {01} {10} {1000} {0} [0001] [0001] [1020] [0010] [100] <-10+14-10> <-10+14-10> <+11+2-6> <+10-11> <-6-14>[10002] [00] <+6-8+10-13> <-8>

mm. 97-101 bn 33%-33%-33%-33%-100%-60% 25%-50%-25%-25%-60%-67% 0%-0%-0%-0%-0%{011} {210} {01} {10} {100} {00010} [0112] [2103] [011] [2001] [1002]

[000201]mm. 101-102 ob. 100% 100% 33%

{000} [0001] <-6+2-13> m. 102 fl. 100% 100% 33%

{000} [0001] <-6+2-11>m. 103 fl. 67%-33%-60%-67%-33% 75%-50%-57%-75%-60% 0%-0%-0%-33%-0%

{010} {10} {00001} {001} {001} [0102] [100] [0000112] [0010] [0010] <-6-1+6> <-9+6> <-6-11+14-7+14> <+5+10-5> <-10+5-10>m. 103 hn. 67% 75% 0%

{010} [0102]mm. 104-110 bn 100%-100%-100%-100%-100%-100%-50% 100%-100%-100%-80%-100%-100%- 100%-100%-67%-50%-33%-100%-0%

67%{000} {000} {000} {01} {100} {000} {0} [0001] [0001] [0000] [00000] [00001] <-10+2-10> <-10+2-10> <+6-10+14> <-14-6> <-13+10-20>

[0001] [01] <-13+10-8> <-16>mm. 110-113 ob 100%-100%-67% 100%-100%-50% 0%-0%-0%

{000} {000} {001} [0001] [0001] [0012]


280

Comparison Chart for Fourth MovementSectionA Segmentation Row Form Cseg CAS IOIseg Subjectmm. 1-5 cl 4-6-2 P3 (2013) (302514) (10) (-++) (-++-+) (-) {110} {10021} {0}mm. 6-10 fl 4-6-2 P3(T6) 100%-100%-100% 100%-100%-100% 100%-100%-100%

mm. 8-11 bn 4-6-2 P3(T6) 100%-100%-100% 100%-100%-100% 100%-100%-0%

mm. 18-22 ob 4-6-2 R3 0%-20%-0% 67%-80%-0% 100%-100%-100%(3102) (510324) (01) (--+) (--+-+) (+)

mm. 18-22 cl 4-6-2 R3(T6) 0%-20%-0% 67%-80%-0% 100%-100%-100%(3102) (510324) (01) (--+) (--+-+) (+)

mm. 29-33 fl 4-6-8 R3(T6) 0%-0%-0% 67%-40%-0% 100%-100%-0%(--+) (-+-+-) (--+---)

mm. 29-33 hn 4-6-8 R3 0%-20%-0% 67%-100%-0% 100%-100%-0%(3102) (401325) (41053276) (--+) (-++-+) (--+--+-)

mm. 34-39 fl 4-6-2 P3 100%-20%-100% 100%-100%-100% 100%-80%-100%(2013) (201435) (10) {110} {23011} {10}

mm. 34-39 cl 4-6-2 I3 0%-0%-0% 0%-0%-0% 100%-80%-100%{110} {23011} {10}

Countermelodymm. 12-17 hn 4-6-3-5 R3 (0213) (402315) (102) (21430) (+-+) (-++-+) (-+)(-+--) {102} {00000} {01} {0012}mm. 23-28 cl 4-6-3 R3(T6) 50%-67%-100% 100%-100%-100% 100%-100%-100%

(1203) (301425) (102)mm. 23-28 4-6-3-5 R3 100%-100%-100%-20% 100%-100%-100%-100% 100%-100%-100%-50%

(0213) (402315) (102) (41320) {102} {00000} {01} {0211}

A' Segmentation Row Form Cseg CAS IOIseg Subjectmm. 18-22 ob 4-6-2 R3 (3102) (510324) (01) (--+) (--+-+) (+) {110} {10021} {0}mm. 78-82 hn 3-7-2 R3 50%-0%-100% 67%-80%-100% 67%-0%-100%

(210) (1524036) (01) (--) (+-+-++) (+) {00} {011111} {0}mm. 78-82 bn 3-5-4 RI3 0%-0%-0% 0%-0%-0% 67%-0%

{00} {011120} {012}mm. 83-87 fl 4-7-2 R3(T6) 100%-0%-100% 100%-50%-100% 100%-0%-100%

(--+) (+-+--+) {+} {110} {0111} {0}mm. 83-87 cl 4-7-2 RI3(T6) 0%-0%-0% 0%-33%-0% 100%-0%-100%

(++-) (-+-++-) (-) {110} {011132} {0}mm. 94-98 cl 4-6-2 RI3 50%-20%-0% 100%-80% 100%-100%

(2103) (102435) (10) (--+) (-++-+)mm. 94-98 hn 4-6-2 RI3(T6) 50%-0%-0% 100%-80% 100%-100%-0%

(2103) (103425) (10) (--+) (-++-+)mm. 105-109 fl 4-6-6 RI3(T6) 100%-0%-NA 100%-20%-NA 100%-100%-NA

(--+) (+--+-) (-+-+-)mm. 105-109 ob 4-6-8 RI3(T6) 100%-0%-NA 100%-20%-NA 100%-100%-NA

(--+) (+--+-) (-+-+-+-)

Subjectmm. 1-5 cl 4-6-2 P3 (2013) (302514) (10) (-++) (-++-+) (-) {110} {10021} {0}mm. 110-115 fl 4-6-2 P3 100%-0%-100% 100%-100% 100%-67%-50%

(2013) (253140) (10) {110} {12011} {01}mm. 110-115 hn 4-6-3 I3 0%-0%-0% 0%-0%-0% 100%-40%-50%

(1320) (253140) (021) (+--) (+--+-) (+-) {110} {12000} {01}

Countermelodymm. 12-17 hn 4-6-3-4 R3 (0213) (402315) (102) (21430) (+-+) (-++-+) (-+)(-+--) {102} {00000} {01} {0012}mm. 88-93 ob 4-6-3-5 P3 50%-17%-33%-40% 100%-80%-100%-75% 100%-100%-100%-100%

(1203)(321405) (201) (02431) (+-+) (--+-+) (-+) (++--)mm. 88-93 bn 4-6-3 I3 0%-0%-0% 0%-20%-0% 100%-100%-33%

(-+-) (++-+-) (+-) {102} {00000} {01}mm. 99-104 fl 4-6-3 P3 50%-20%-33%-40% 100%-80%-100%-100% 100%-100%-100%-50%

(1203) (321405) (201) (+-+) (--+-+) (-+) (-+--) {102} {00000} {01} {0000}mm. 99-104 bn 4-6-3-4 P3(T6) 50%-50%-100%-0% 100%-80%-100%-0% 100%-100%-100%-50%

(1203) (421305) (102) (1302) (+-+) (--+-+) (-+) (+-+) {102} {00000} {01} {021}


281

A IOIseg Dseg OPISSubjectmm. 1-5 cl {110} {10021} {0} [001111] [00111112] [03111112] <-8+2+14> <-13+10+16-22+14> <-3>mm. 6-10 fl 100%-100%-100% 100%-100%-100% 100%-80%-0%

<-8+2+14> <-15+10+16-22+14> <-1>mm. 8-11 bn 100%-100%-0% 100%-100%-0% 100%-80%-0%

<-8+2+14> <-15+10+16-22+14> <-1>mm. 18-22 ob 100%-100%-100% 100%-100%-38% 0%-0%-0%

[001111] [00111112] [03112] <-9-2+10> <-19-10+13-2+10> <+8>mm. 18-22 cl 100%-100%-100% 100%-100%-38% 0%-0%-0%

[001111] [00111112] [03111]mm. 29-33 fl 100%-100%-0% 100%-88%-0% 0%-20%-0%

[001111] [00111110] [0000111] <-11-2+10> <-16+14-20+7-14> <-4-1-+13-2-2-2>mm. 29-33 hn 100%-100%-0% 100%-88%-0% 0%-0%-0%

[001111] [00111111] [00000010]mm. 34-39 fl 100%-80%-100% 100%-75%-0% 67%-80%-0%

{110} {23011} {10} [001111] [001100111] [002001] <-8+2+10> <-11+10+16-10+14> <-15>mm. 34-39 cl 100%-80%-100% 100%-75%-0% 0%-0%-0%

{110} {23011} {10} [001111] [001100111] [002001]

Countermelodymm. 12-17 hn {102} {00000} {01} {0012} [00000011] [0000000] [0213] [001200] <+3-2+10> <-4+2+1-2+10> <-2+8> <-2+10-2-8>mm. 23-28 cl 100%-100%-100% 88%-100%-75% 33%-80%-100%

[00000010] [0000000] [0212] <+1-2+10> <-4+2+3-2+10> <-2+8>mm. 23-28 100%-100%-100%-50% 88%-100%-75%-50% 100%-100%-100%-50%

{102} {00000} {01} {0211} [00000010] [0000000] [0212] [00112] <+3-2+10> <-4+2+1-2+10> <-2+8> <-14+10-1-9>A' IOIseg Dseg OPISSubjectmm. 18-22 ob {110} {10021} {0} [001111] [00111112] [03112] <-9-2+10> <-19-10+13-2+10> <+8>mm. 78-82 hn 67%-0%-100% 100%-25%-20% 67%-33%-100%

{00} {011111} {0} [001111] [00222221] [012] <-10-2> <+11-4+2-11+10+10> <+8>mm. 78-82 bn 67%-0% 100%-75%-40% 0%-0%-0%

{00} {011120} {012} [001111] [001111] [02103]mm. 83-87 fl 100%-0%-100% 100%-20%-0% 67%-50%-100%

{110} {0111} {0} [001111] [0022222103] [111102] <-11-2+10> <+10-16+14-9-2+10> <+8>mm. 83-87 cl 100%-0%-100% 100%-25%-0% 0%-17%-0%

{110} {011132} {0} [001111] [0022222101] [111102] <+11+2-10> <-10+16-14+9+2-10> <-8>mm. 94-98 cl 100%-100% 100%-100%-0% 33%-40%-0%

<-3-10+14><-8+10+11-10+14> <-20>mm. 94-98 hn 100%-100%-0% 100%-88%-100% 0%-0%

[001111] [00222123] [03112]mm. 105-109 fl 100%-100%-NA 100%-20%-NA 33%-0%-NA

[001111] [00222221] [1111302] <-13-10+14> <+16-2-15+14-10> <-8+10-11+14-10>mm. 105-109 ob 100%-100%-NA 100%-88%-NA 0%-0%-NA

[001111] [00222221] [11101010]

Subjectmm. 1-5 cl {110} {10021} {0} [001111] [00111112] [03111112] <+8+2+14> <-13+10+16-22+14> <-3>mm. 110-115 fl 100%-67%-50% 83%-75%-13% 100%-60%

{110} {12011} {01} [001110] [001100111] [001002] <-8+2+14> <-13+11+16-10+14> <-15>mm. 110-115 hn 100%-40%-50% 100%-67%-67% 0%-0%-0%

{110} {12000} {01} [001111] [001100111] [001201] <+8-2-14> <+13-10-4+10-14> <+15-5>

Countermelodymm. 12-17 hn {102} {00000} {01} {0012} [00000011] [0000000] [0213] [001200] <+3-2+10> <-4+2+1-2+10> <-2+8> <-2+10-2-8>mm. 88-93 ob 100%-100%-100%-100% 100%-100%-100%-67% 0%-0%-0%-50%

[00000011] [0000000] [0213] [00121] <+4-10_14> <-1-2+4-10+14> <-10+9> <+10+10-2-16>mm. 88-93 bn 100%-100%-33% 100%-100%-0% 0%-0%-0%

{102} {00000} {01}mm. 99-104 fl 100%-100%-100%-50% 100%-86%-75%-40% 0%-0%-0%-50%

{102} {00000} {01} {0000} [00000011] [00000011] [0213] [00001] <+4-10+14> <-1-2+4-10+14> <-10+9> <-14+10-2-16>mm. 99-104 bn 100%-100%-100%-50% 100%-100%-75%-20% 0%-0%-0%-0%

{102} {00000} {01} {021} [00000011] [0000000] [0212] [0213]


282

A" Segmentation Row Form Cseg CASSubjectmm. 18-22 ob 4-6-2 R3 (3102) (510324) (01) (--+) (--+-+) (+)mm.187-191 ob 4-6 R3 100%-0% 100%-20%

(--+) (-+-+-)mm.187-191 cl 4-6 I3 0%-0% 67%-20%

(-++) (-+-+-)

mm. 1-5 cl 4-6-2 P3 (2013) (302514) (10) (-++) (-++-+) (-)mm. 192-197 hn 4-6-2 RI3 100%-17%-100% 100%-60%-100%

(2013) (304125) (10) (-+-) (-+-+-) (-)mm. 192-197 bn 4-6-2 RI3 100%-17%-100% 100%-100%-100%

(2012) (103425) (10)mm. 204-208 ob 4-4-2 R3 0%-0%-100% 0%-60%-100%

(+--) (-+-+) (+)mm.204-208 bn 4-4-2 RI3 100%-17%-0% 0%-40%-50%

(1023) (0213) (01) (-++) (+-+) (-+)

mm. 18-22 obmm. 214-219 ob 4-6-2 I3 0%-100%-0%- 100%-80%-0%

(--+) (+-+-+) (-)

mm. 1-5 cl 4-6-2 P3 (2013) (302514) (10) (-++) (-++-+) (-)mm. 217-225 pic 4-6-2 P3 100%-0%-0% 100%-60%-0%

(-++) (+-+-+) (+)4-6-7 P3 0%-0%-0% 67%-20%-0%

(-+-) (+--++) (+---++)

Countermelodymm. 12-17 hn 4-6-3-5 R3 (0213) (402315) (102) (21430) (+-+) (-++-+) (-+)(-+--)mm.198-203 fl 4-6-3-5 RI3 0%-0%-33%-40% 0%-0%-50%-50%

(3120) (153240) (012) (01423) (-+-) (+--+-) (++) (++-+)mm.198-203 hn 4-6-3 RI3(T6) 0%-0%-33% 0%-0%-50%

(2130) (254120) (012) (-+-) (+--+-) (++)mm.209-214 cl 4-6-3 RI3 0%-0%-0% 0%-0%-0%

mm. 209-214 bn 4-6-3-5 I3(T3) 0%-33%-33%-40% 0%-40%-0%-100%(3120) (204351) (120) (41320) (-+-) (-+-+-) (+-) (-+--)

A''' Segmentation Row Form Cseg CASSubjectmm. 1-2 cl 4 P3 (2013) (-++) mm. 335-339 fl 4-5-4 RI3 50%-0%-50% 67%-75%-67%

(2103) (32014) (2103) (--+) (--++) (--+)mm.335-339 ob 4-4-4 RI3 0%-100%-50% 67%-100%-33%

(3102) (2013) (2103) (--+) (-++) (--+)mm. 335-339 cl 4-4 P3 100%-100%-NA 100%-100%-NA

mm. 335-339 bn 4-4 P3 100%-0%-NA 100%-67%-NA(-++) (--+) (--)

Countermelodymm. 11-12 4 R3 (0213) (+-+)mm. 305-308 ob 4-4-2 P3 25%-0%-NA 100%-0%-NA

(1203) (1032) (10)mm. 304-308 cl 4-4 P3 0%-50% 0%-33%

(2130) (2013) (-+-) (-++)mm. 309-312 ob 4-4 I3 50%-0% 100%-67%

(1203) (1320) (+-+) (+--)mm. 309-312 bn 4-4-2 I3 0%-25%-NA 0%-100%-NA

(2130) (2301) (10)

m. 12 hn 2 NA NAmm. 313-320 fl 2-2-2-4-3 P,R,I,RI 3 NA NA

mm. 313-320 ob 2-2-3-3-2-2 P,R,I,RI 3 NA NA

mm. 313-320 hn 2-2-3-2-2-2 P,R,I,RI 3 NA NA

mm. 313-320 bn 2-2-2-2-3-3 P,R,I,RI 3 NA NA


283

A" IOIseg Dseg OPISSubjectmm. 18-22 ob {110} {10021} {0} [001111] [00111112] [03112] <-9-2+10> <-19-10+13-2+10> <+8>mm.187-191 ob 100%-20% 100%-64% 67%-20%

{110} {11100} [001111] [00111111002] <-11-2+10> <-10+23-14+10>mm.187-191 cl 100%-20% 100%-64% 33%-0%

{110} {11100} [001111] [00111111002] <-10+2+14> <-13+26-10+14>

mm. 1-5 cl {110} {10021} {0} [001111] [00111112] [03111112] <-8+2+14> <-13+10+16-22+14> <-3>mm. 192-197 hn 100%-100%-100% 100%-100%-75% 67%-0%-0%

[001111] [00111112] [0311112] <-10+2+14> <-10+14-10+4+10> <-10>mm. 192-197 bn 100%-100%-100% 100%-75%-20% 67%-0%-0%

[001111] [00111211] [00] <-13+2+14> <-8+10+9-10+14> <-8>mm. 204-208 ob 100%-60%-100% 100%-75%-20% 0%-20%-0%

{110} {100} {0} [001111] [001111] {0012] <+10-2-14> <-9+10-14+10> <+16>mm.204-208 bn 100%-60%-0% 100%-75%-100% 33%-0%-0%

{110} {1001} {10} [001111] [001111] [03112] <-13+14+14> <+10-1+14> <+14>

mm. 18-22 obmm. 214-219 ob 100%-100%-100% 100%-100%-0% 67%-17%-0%

<-14-2+10> <+14-4+10-26+10> <-9>

mm. 1-5 cl {110} {10021} {0} [001111] [00111112] [03111112] <-8+2+14> <-13+10+16-22+14> <-3>mm. 217-225 pic 100%-100%-0% 100%-88%-0% 100%-40%-0%

[001111] [00111112] [0021] <-8+2+14> <+11-14+16-10+14> <+9>100%-100%-0% 100%-88%-44% 33%-20%-0%

[001111] [00111111] [0021000043] <-8+14-10> <+11-2-8+4+14> <+15-2-2-2+8+4>

Countermelodymm. 12-17 hn {102} {00000} {01} {0012} [00000011] [0000000] [0213] [001200] <+3-2+10> <-4+2+1-2+10> <-2+8> <-2+10-2-8>mm.198-203 fl 100%-100%-100%-100% 100%-100%-100%-100% 100%-0%-0%-0%

mm.198-203 hn 100%-100%-100% 100%-100%-75% 0%-0%-0%[00000011] [0000000] [1302]

mm.209-214 cl 100%-100%-100% 100%-100%-75% 0%-0%-50%[00000011] [0000000] [0212 <-3+2-10> <+4-2-1+2> <+14+8>

mm. 209-214 bn 67%-100%-100%-50% 75%-100%-100%-50% 0%-0%-0%-50%{101} {00000} {01} {0111} [00000000] [0000000] [0213] [00112] <-2+1-10> <-2+10-2+4-7> <+8-14> <-14+10-2-9>

A''' IOIseg Dseg OPISSubjectmm. 1-2 cl {110} [001111] <-8+2+14> mm. 335-339 fl 100%-75%-13% 100%-67%-36% 33%-25%-33%

{110} {1100} {20011100} [001111] [0011001] [00100111002] <-6-3+14> <-8-5+4+10> <-9-2+14>mm.335-339 ob 100%-100%-0% 100%-67%-36% 33%-0%-0%

{110) {110} {203100} [001111] [0011001] [00100111002] <-8-7+13> <-16+14+4> <-5-1+11>mm. 335-339 cl 100%-100%-NA 100%-83%-NA 33%-0%-NA

[001111] [001112] [00100] <-10 +2+10> <-11+5+10> <-10-11>mm. 335-339 bn 100%-100%-NA 100%-83%-NA 0%-0%

[001111] [001112] [00100]

Countermelodymm. 11-12 {102} [00000011] <+3-2+10>mm. 305-308 ob 100%-100%-NA 100%-100%-NA 0%-0%-NA

mm. 304-308 cl 100%-100% 100%-75% 0%-33%[00000011] <-3+6-10> <-14+11+10>

mm. 309-312 ob 100%-100% 100%-100% 67%-0%<+3-6+10> <+14-11-10>

mm. 309-312 bn 100%-100% 100%-100%-NA 0%-33%-NA<-2+10-15> <+3-13+6> <+2>

m. 12 hn NA [0011] <+10>mm. 313-320 fl NA 100%-100%-100%-50%-75% 100%-100%-0%-0%-0%

[0011] [0011] [0011] [001001] [001]mm. 313-320 ob NA 100%-100%-75%-25%-100%-100% 0%-0%-0%-0%-0%-0%

[0011] [0011] [001] [011] [0011] [0011]mm. 313-320 hn NA 100%-100%-33%-50%- 100%-50% 100%-100%-0%-0%-0%-0%

[0011] [0011] [012] [000] [0011] [000]mm. 313-320 bn NA 100%-50%-100%-100%-75%-75% 0%-0%-0%-0%-0%-0%

[0011] [0000] [0011] [0011] [001] [001]


284

m. 14 hn 3 (102) (-+)mm. 321- 322 fl 3-3 NA 100%-100% 100%-0%

mm. 321-322 bn 3-3 NA 100%-0% 100%-50%(-+) (--)

mm. 323-324 bn 3-3 NA 33%-0% 50%-50%(012) (210) (++) (--)

mm. 323-324 cl 3-3 NA 33%-33% 0%-0%(120) (120)

mm. 325-326 hn 3-3 NA 100%-0% 100%-0%

mm. 325-326 ob 3-3 NA 100%-33% 100%-0%(102) (120)

mm. 327-328 ob 3-3 NA 100%-0% 100%-0%

mm. 327-328 fl 3-3 NA 100%-33% 100%-100%(102) (210)

B Segmentation Row Form Cseg CASSubordinate Thememm. 58-60 hn 4-4-4 I9 (0123) (1320) (1320) (+++) (+--) (+--)mm. 61-63 fl 4-4-4 RI9 100%-25%-0% 100%-33%-67%

(0123) (0123) (0213) (+++) (+++) (+-+)

m. 63 fl (0213) (+-+)mm. 64-65 cl 4 NA 0% 0%

mm. 65-66 ob 4 NA 0% 0%

mm. 68-69 ob 4 NA 100% 100%

m. 58 hn and 63 fl (0123) (0213) (+++) (+-+)mm. 69-71 fl 4-4-8 I9 0%-0%-0% 0%-0%-0%

mm. 72-73 bn 4-4-5 P9 100%-100%-80% 100%-100%-75%(0123) (0213) (01234) (+++) (+-+) (++++)

mm. 73-74 cl 4-4-4 P9 100%-0%-100% 100%-100%-100%

B' Segmentation Row Form Cseg CASPrimary Theme 4-6-3mm. 43-47 I9 (1230) (021435) (210) (++-) (+-+-+) (--)mm. 226-230 hn 4-6-3 I2 100%-100%-100% 100%-100%-100%

mm.239-242 cl 4-7 I3(T4) 100%-33% 100%-100%(1230) (1426350)

mm. 52-56 fl,hn,bnmm. 231-233 fl 4 RI2 100% 100%

mm. 232-236 bn 4 RI2 100% 100%

mm. 235-237 ob 4 RI2 100% 100%

Subordinate Thememm. 58-60 4-4-4 I9 (0123) (1320) (1320) (+++) (+--) (+--)mm. 240-242 hn 4-4-4 I3(T6) 100%-0%-100% 100%-67%-100%

(0123) (0213) (1320) (+++) (+-+) (+--)

mm. 61-63 4-4-4 RI9 (0123) (0123) (0213) (+++) (+++) (+-+)mm. 243-245 fl 4-4-4 RI3 100%-100%-100% 100%-100%-100%

m. 63 fl 4 RI3 (0213) (+-+) mm. 246-247 bn 4 I3 0% 0%

mm. 247-248 ob 4 I3 100% 100%

mm. 248-249 hn 2 I3 NA NA

A’’’ Segmentation Row Form Cseg CAS


285

m. 14 hn {00} [1021] <-2+8>mm. 321- 322 fl NA 75% 0%-0%

[1022]mm. 321-322 bn NA 50%-50% 0%-0%

[1032] [1032]mm. 323-324 bn NA 75%-50% 0%-0%

[1022] [1032]mm. 323-324 cl NA 50%-75% 0%-0%

[1032] [1022]mm. 325-326 hn NA 50%-75% 0%-0%

[1032] [1022]mm. 325-326 ob NA 75%-50% 0%-0%

[1022] [1032]mm. 327-328 ob NA 50%-40% 0%-0%

[1032] [10102]mm. 327-328 fl NA 75%-67% 0%-0%

[1022] [102102]B IOIseg Dseg OPISSubordinate Thememm. 58-60 hn {000} {102} {001} [0001] [0000000] [00000] <+4+1+4> <+6 -1-6> <+9-3-13>mm. 61-63 fl 100%-33%-100% 75%-57%-40% 0%-33%-0%

{000} {000} {001} [0000] [0000] [0021] <+1+4+3> <+6+1+7> <+8-1+8>

m. 63 fl {001} [0021] <+8-1+8>mm. 64-65 cl 67% 50% 0%

{000} [0000]mm. 65-66 ob 67% 50% 0%

{000} [0000]mm. 68-69 ob 100% 40% 0%

[00001]

m. 58 hn and 63 fl {000} {001} [0001] [0021] <+4+1+4> <+8-1+8>mm. 69-71 fl 67%-67%-43% 75%-50%-50% 0%-0%-0%

{000} {000} {0000000} [0001] [0000] [00000001]mm. 72-73 bn 100%-67%-60% 75%-50%-60% 33%-0%-0%

{000} {000} {0000} [0000] [0000] [00001] <+4+2+2> <+11-2+4> <+2+2+2+16>mm. 73-74 cl 67%-67%-67% 50%-50%-50% 0%-33%-33%

{000} {000} {000} [0000] [0000] [0000] <+3-2+10> <+8-10+1> <+10-2+8>B' IOIseg Dseg OPISPrimary Thememm. 43-47 {010} {00012} {00} [0201] [000120] [001] <+8+9-28> <+8-2+20-2+5> <-10-16>mm. 226-230 hn 100%-100%-100% 100%-100%-100% 100%-100%-50%

[0201] [000120] [001] <+8+9-28> <+8-2+10-2> <-10-4>mm.239-242 cl 100%-75% 100%-67% 0%-17%

{010} {0001200} [0201] [00012000] <+9+7-27> <+8-4+10-9+4-14>

mm. 52-56 fl,hn,bnmm. 231-233 fl 100% 100% 100%

mm. 232-236 bn 100% 100% 100%

mm. 235-237 ob 100% 100% 100%

Subordinate Thememm. 58-60 {000} {102} {001} [0001] [0000000] [00000] <+4+1+4> <+6 -1-6> <+9-3-13>mm. 240-242 hn 100%-33%-67% 0%-100%-17% 100%-100%-100%

{000} {000} {011} [11110] [0000000] [12011]

mm. 61-63 {000} {000} {001} [0000] [0000] [0021] <+1+4+3> <+6+1+7> <+8-1+8>mm. 243-245 fl 100%-100%-100% 100%-100%-100% 100%-100%-100%

m. 63 fl {001} [0021] <+8-1+8>mm. 246-247 bn 67% 50% 0%

{000} [0000]mm. 247-248 ob 67% 50% 100%

{000} [0000]mm. 248-249 hn 0% 0% 0%

A’’’ IOIseg Dseg OPIS


286

m. 249 bn 2 I3 NA NA

mm. 249-250 fl 2 I3 NA NA

m. 251 hn 2 I3 NA NA

mm. 251-252 ob 2 I3 NA NA

mm. 251-252 bn 2 I3 NA NA

m. 253 fl 4 I3 0 33(++-)

A Subjectmm.1-3 4 NA (2013) (-++)mm. 254-255 2-2-2-2 NA 25%-25%-25%-25% NA

(10) (10) (10) (10)mm. 256-258 2-4-2 NA 25%-50%-25% NA-67%-NA

(10) (2031) (10) (-) (-+-) (-)

mm. 1-5 cl 4-6-2 P3 (2013) (302514) (10) (-++) (-++-+) (-)mm. 259-263 4-6-2 R3 75%-33%-100% 33%-100%-100%

(0213) (301425) (10) (+-+) (-++-+) (-)mm. 276-278 hn 4-3 P3(T4) 100%-0% 100%-0%

mm. 1-2 clmm. 279-281 ob 2-4 P6 25%-50% NA-33%

(10) (0213) (-) (+-+)mm. 279-281 bn 2-4 P6 NA-0% NA-33%

(-) (+-+)A Countermelodymm. 11-12 4-6-3-4 R3 (0213) (+-+) mm. 264-268 fl 3-5-4 R3 75%-17%-0% 67%-75%-100%

(021) (14230) (1302) (+-) (+-+-)(+-+)mm. 264-268 ob 4-4-4 RI3 0%-100%-0% 0%-100%-0%

mm. 268-274 cl 3-3-7 0%-0%-0% 0%-0%-0%

mm. 268-274 hn 3-3 0%-75% 67%-67%(120) (021) (+-) (+-)

C Primary Thememm. 116-124 3-3-3-3 R1 (012) (210) (102) (021) (++) (--) (-+) (+-)mm. 282-290 cl 3-3-3-3 R3 100%-100%-100%-100% 100%-100%-100%-100%

mm. 290-296 ob 3-3 R3 100%-100% 100%-100%

mm. 290-296 hn 3-3 R3 100%-100% 100%-100%

C Segmentation Row Form Cseg CASPrimary Thememm. 116-124 bn 3-3-3-3 R1 (012) (210) (102) (021) (++) (--) (-+) (+-)mm. 131-140 ob 3-3-3-4 I5 100%-100%-100%-0% 100%-100%-100%-0%

mm. 131-140 cl 3-3-3-3-3 I5 100%-100%-100%-100%-0% 100%-100%-100%-100%-0%

mm. 147-149 cl 3-3 100%-100% 100%-100%

mm. 148-149 hn 3 100% 100%

mm. 159-172 cl 3-3-3-3 I5(T3) 100%-100%-100%-100% 100%-100%-100%-100%

mm. 159-172 hn 3-3-3-3 I5(T3) 100%-100%-100%-100% 100%-100%-100%-100%

mm. 159-172 bn 3-3-3-3 I5(T3) 100%-100%-100%-100% 100%-100%-100%-100%

B’ Segmentation Row Form Cseg CAS


287

m. 249 bn NA 25% 0%[01]

mm. 249-250 fl NA 50% 33%[001] <+8>

m. 251 hn NA 25% 0%[01]

mm. 251-252 ob NA 50% 0%[0012]

mm. 251-252 bn NA 50% 0%[0011]

m. 253 fl 50 40% 0%{000} [0001]

A Subjectmm.1-3 {110} [00111] <-8+2+14>mm. 254-255 NA 60%-60%-60%-60% 0%-0%-0%-0%

[001] [001] [001] [001]mm. 256-258 NA-50%-NA 60%-83%-80% 0%-0%-0%

{0} {100} {0} [001] [001111] [0011]

mm. 1-5 cl {110} {10021} {0} [001111] [00111112] [03111112] <-8+2+14> <-13+10+16-22+14> <-3>mm. 259-263 100%-100%-100% 100%-100%-13% 0%-0%-0%

[001111] [00111112]] [00200001]mm. 276-278 hn 100%-0% 100%-83% 33%-0%

[001111] [001112] <--13+4+14> <+16-8>mm. 1-2 clmm. 279-281 ob NA-100% 67%-83% NA-0%

[0011] [001112] <-6> <+9-6+16>mm. 279-281 bn NA-100% 67-100% NA-0%

[0011] [001111]A Countermelodymm. 11-12 {102} [00000011] <+3-2+10> mm. 264-268 fl 67%-100%-33% 75%-100%-75% 67%-0%-0%

{10} {102} {201} [000001] [00000011] [0000001] <+3-2> <+10-4+2-11> <+10-14+8>mm. 264-268 ob 100%-100%-33% 100%-100%-75% 0%-0%-0%

{102} {102} {201} [00000011] [00000011] [0000001]mm. 268-274 cl 67%-100%-0% 75%-88%-0% 0%-0%-0%

{10} {102} {01201201} [0000000] [0000001] [012012011]mm. 268-274 hn 67%-67% 75%-88% 0%-0%

{10} {10} [0000000] [0000001]

C Primary Thememm. 116-124 {00} {00} {00} {01} [001] [001] [001] [0102] <+15+10> <-14-16> <-11+22> <+22-16>mm. 282-290 cl 100%-100%-100%-100% 100%-100%-100%-100% 100%-100%-50%-100%

mm. 290-296 ob 100%-100% 100%-100% 0%-0%

mm. 290-296 hn 100%-100% 100%-100% 100%-100%

C IOIseg Dseg OPISPrimary Thememm. 116-124 bn {00} {00} {00} {01} [001] [001] [001] [1203] <+15+10> <-14-16> <-11+22> <+22-16>mm. 131-140 ob 100-100-100-0% 100%-100%-100%-100%-0% 50%-50%-50%-0%-0%

[001] [001] [001] [1203] [000] <+8+10> <-14-9> <-16+22> <+10-11> <+1-2>mm. 131-140 cl 100%-100%-100%-100%-0% 100%-100%-100%-100%-0% 0%-0%-0%-0%-0%

mm. 147-149 cl 100%-100% 67%-100% 0%-0%[000] [001]

mm. 148-149 hn 100% 100% 0%

mm. 159-172 cl 100%-100%-100%-100% 100%-100%-100%-100% 0%-0%-0%-0%

mm. 159-172 hn 100%-100%-100%-100% 100%-100%-100%-100% 0%-0%-0%-0%

mm. 159-172 bn 100%-100%-100%-100% 100%-100%-100%-100% 50%-50%-50%-50%<+9+10> <-14-11> <-16+22> <+22-33>

B’ IOIseg Dseg OPIS


288

Subordinate Thememm. 125-130 fl. 6 P1 (512304) (-++-+)mm. 141-146 ob 6 P8 100% 100%

mm. 141-146 cl 6 P8 100% 100%

mm. 155-160 ob 6 I5(T3) 67% 100%(502314)

mm. 155-160 hn 6 I5(T3) 100% 100%

mm. 173-179 bn 6-3 RI7(T2) 0%-NA 80%-NA(-+--+) (-+)

mm. 173-179 hn 6 RI7(T2) 100% 100%

mm. 173-179 ob 6 RI7(T2) 0% 80%(-+--+)

mm. 173-179 cl 6 RI7(T2) 33% 100%(523401)

mm. 173-179 fl 4 P2 0% 40%(-+-)

C Segmentation Row Form Cseg CAS

Subordinate Thememm. 125-130 fl. {10000} [200001] <-8+2+2-10+11>mm. 141-146 ob 100% 100% 100%

mm. 141-146 cl 100% 57% 80%[100001] <-8+2+2-10+9>

mm. 155-160 ob 100% 0% 20%<-14+3+2-4+10>

mm. 155-160 hn 100% 100% 20%<-14+1+2-4+10>

mm. 173-179 bn 100% 17% 0%[211110]

mm. 173-179 hn 100% 71% 83%[100002] <-13+2+2-10+16>

mm. 173-179 ob 100% 71% 0%[100002]

mm. 173-179 cl 100% 57% 40%[100001] <-15+2+2-22+16>

mm. 173-179 fl 33% 0% 0%{1032}

C IOIseg Dseg OPIS

C Segmentation Row Form Cseg CAS

C IOIseg Dseg OPIS

Melodic Contour and Rhythm as Organizing Principles in ...

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