Song 2011 03vol2.

MUSIC ANALYSIS AND THE AVANT-GARDE COMPOSITIONS OF
POST-WORLD WAR II: FOUR CASE STUDIES
VOLUME 2
BY
SUN-JU SONG, BMus, BA (Mus)(Hons), MMus
Queensland Conservatorium,
Griffith University
Submitted in fulfilment of
the requirements for the degree of
Doctor of Philosophy
October, 2008
List of Figures
Volume Two
Figure 2.1 Four composers and four piano works
Figure 3.1 Three divisions of the mode
Figure 3.2 Analyses of Messiaens Mode de valeurs et dintensits reviewed in this
chapter
Figure 3.3 Comparison of selected analyses of Mode de valeurs
Figure 3.4 Schweizers illustration of regrouping of notes
Figure 3.5 (a) Toops rearrangement of the three divisions
Figure 3.5 (b) Sherlaw Johnsons rearrangement of the three divisions
Figure 3.5 (c) Schweizers rearrangement of the three divisions
Figure 3.6 Fuhrmanns graphic illustration of the note order in Mode de valeurs
Figure 3.7 Sherlaw Johnsons graphic illustration of the note order in Mode de valeurs
Figure 3.8 Six planes of sound in Covingtons analysis
Figure 3.9 Covingtons analysis of Mode de valeurs
Figure 3.10 (a, b, c and d) Reinterpretation of Sherlaw Johnsons note order into the
arrangement of durational values
Figure 3.10 (e, f and g) Reinterpretation of Sherlaw Johnsons note order into the
Figure 3.10 (h and i) Reinterpretation of Sherlaw Johnsons note order into the
Figure 3.11 (a) Messiaens Mode de valeurs (Bars 105115)
Figure 3.11 (b) Messiaens Mode de valeurs, Metrical reinterpretation (Bars 105115)
Figure 3.12 Motives
Figure 3.13 Appearance of G5 (Bars 5153)
Figure 3.14 Construction of seven-note mode (Hidden mode)
Figure 3.15 (a) Comparison between the mode of limited transposition and the hidden
mode
Figure 3.15 (b) Comparison between the mode of limited transposition and the hidden
mode
ii
Figure 3.15 (c) Comparison between the mode of limited transposition and the hidden
mode
Figure 3.16 (a) Melodic cadence (Bars 2829)
Figure 3.16 (b) Melodic cadence (Bar 78)
Figure 3.16 (c) Melodic cadence (Bars 107111)
Figure 4.1 Analyses of Boulezs Structures Ia reviewed in this chapter
Figure 4.2 (a) Boulezs initial series used in Structures Ia according to Ligeti
Figure 4.2 (b) Boulezs two matrices used in Structures Ia
Figure 4.3 (a and b) Comparison between Boulezs and Ligetis attack series
Figure 4.4 Sectional divisions in Structures Ia according to Ligetis analysis
Figure 4.5 Ligetis examples for the superimposition of threads
Figure 4.6 Wennerstroms analysis of combined dynamic levels in Structures Ia
Figure 4.7 Wennerstroms analysis of combined attack levels in Structures Ia
Figure 4.8 Griffiths graph illustrating the tempo, density and registral distributions of
pitches in each formal sections
Figure 4.9 Eckart-Bckers analysis of the arrangement of three tempi
Figure 4.10 Unos analysis of registral distributions of pitch rows in Boulezs
Structures Ia
Figure 4.11 Unos analysis of segmental and sectional TG boundaries
Figure 4.12 Model of serial communication according to Grant
Figure 4.13 (a) Density variability of the 14 abstract formal sections of Structures Ia.
Figure 4.13 (b) Density variability and the 11 actual formal sections of Structures Ia
separated by pauses
Figure 4.14 Opening chords of the 14 abstract formal sections in Structures Ia
Figure 4.15 Opening chords with the interval of a compound fifth
Figure 4.16 Opening chords without the interval of a compound fifth
Figure 4.17 (a) Summary of tritone relationships
Figure 4.17 (b) Pitch series paired in tritone relationships
Figure 4. 18 Repeated pitches shared by all the pitch series used in each abstract
formal section
Figure 4.19 Density levels and the number of repeated pitches in each abstract formal
section
Figure 4.20 Relationship between the density variable and the arrangement of
dynamics
iii
Figure 4.21 Categorisation of attacks

Figure 4.22 Relationships between the types of attacks and the density level
Figure 4.23 Two overlapping symmetries for the arrangement of tempo
Figure 4.24 Golden Section ratio
Figure 4.25 Iteration table illustrating the calculations application of the GS ratio
Figure 4.26 The application of the GS ratio to the 14 abstract formal sections
Figure 2.27 The cumulative calculation for the real time of the entire piece
Figure 4.28 The range of section VI and GS primary point in relation to the assumed
duration values for pauses
Figure 4.29 The range of section VI and GS primary point in relation to the pause
durations
Figure 4.30 Complementary features of sections VI(a) and VI in relation to the GS
ration
Figure 4.31 A structural connection between the three tempi and the GS proportional
system
Figure 5.1 Analyses of Stockhausens Klavierstck III reviewed in this chapter
Figure 5.2 Comparison of selected analyses of Klavierstck III
Figure 5.3 Comparison of four authors interpretations of formal structure of
Klavierstck III
Figure 5.4 Blumrders interpretation of the formal structure of Klavierstck III
Figure 5.5 Schnebels interpretation of five-part formal structure of Klavierstck III
Figure 5.6 Cooks interpretation of the of formal structure of Klavierstck III
Figure 5.7 Analytical approaches for pitch organisation in Klavierstck III
Figure 5.8 Cooks pitch distribution analysis in Klavierstck III
Figure 5.9 Blumrders three-part durational divisions in Klavierstck III
Figure 5.10 Blumrders analysis of tetrachords and durational scheme of
Klavierstck III
Figure 5.11 Blumrders analysis of the serial organisation in Klavierstck III
Figure 5.12 Harveys illustration of pentachords and melodic contour in Kalvierstck
III
Figure 5.13 Lewins rearrangement of pentachords in Klavierstck III for ear-training
purposes
Figure 5.14 J Related forms of pentachords retrieved from Lewins analysis
Figure 5.15 Maconies analysis of rhythmic cells used in Kalvierstck III
iv
Figure 5.16 Cooks interpretation of the rhythmic relationship of five-part form using
Cooper-Meyers rhythmic symbols
Figure 5.17 Blumrders analysis of the serial organisation of durations in
Klavierstck III
Figure 5.18 Blumrders reinterpretation of Bar 8
Figure 5.19 Blumrders analysis of the serial organisation of dynamics in
Klavierstck III
Figure 5.20 Blumrders analysis of the permutations of dynamics in Klavierstck III
Figure 5.21 Schnebels graphic illustration of Klavierstck III
Figure 5.22 Blumrders analysis of the serial organisation of registers in Klavierstck
III
Figure 5.23 Blumrders serial permutations of registers in Klavierstck III
Figure 5.24 Schnebels graphic illustration of a dense network of relationships
Figure 5.25 Blumrders analysis of the serial organisation for density in Klavierstck
III
Figure 5.26 Blumrders analysis of the relationship between articulation and density
Figure 5.27 My analysis of the five groups in Klavierstck III
Figure 5.28 Comparison between my interpretation and Schnebels interpretation of
groups
Figure 5.29 Comparison between my interpretation and Cooks interpretation of
groups
Figure 5.30 Group 1 (Bars 12) from Klavierstck III
Figure 5.32 Rhythmic cells used in Group 2
Figure 5.33 Symmetrical relationships between dynamics and registers in Group 2
Figure 5.34 Group 3 (Bars 810.3) from Klavierstck III
Figure 5.35 Symmetrical arrangements of intervals in Group 3
Figure 5.36 Symmetrical arrangements of durational values in Group 3
Figure 5.37 Group 4 (Bars 10.413) from Klavierstck III
Figure 5.38 Symmetrical relationships in Group 4
Figure 6.1 Analyses of John Cages Music of Changes reviewed in this chapter
Figure 6.2 Pritchetts diagram of phrase group structure
Figure 6.3 Relationship between phrases and a phrase group
v
Figure 6.4 Relationship between phrase groups and the structure of the entire piece
Figure 6.5 Chart structure
Figure 6.6 Sound chart 2
Figure 6.7 Subdivision of sound Chart: 44=16
Figure 6.8 Durational chart 2
Figure 6.9 Dynamic chart 8
Figure 6.10 Density chart
Figure 6.11 Summary of the compositional process based on Pritchetts analysis
Figure 6.12 Terminology comparisons between Pritchett, Schdler and Cage
Figure 6.13 Mobile and immobile relationships in chart system
Figure 6.14 Segmented duration in visual measurement
Figure 6.15 Comparison between the compositional systems of Cages Music of
Changes and Boulezs Structures Ia
Figure 6.16 The range for each pre-determined parameter in Music of Changes and
Structures Ia
Figure 6.17 (a) Cages spatial notation in bars 131133 of Book III
Figure 6.17 (b) Recirculation of Cages notation in Bars 131133 of Book III
Figure 6.17 (c) Recirculation of Cages notation in Bars 131133 of Book III
vi
Figure 2.1
Years
1944
Four composers and four piano works
Four composers and four piano works
Other events
Boulez became Messiaens student
1946
Darmstadt summer courses commenced.
1948
Schaeffer began experimenting with tape music at the

French National Radio
1949
Cage met Messiaen and Boulez in Paris.
Cages Sonatas and Interludes for prepared piano was
Messiaen composed Mode de valeurs.
performed in Paris.
The correspondence between Boulez and Cage began.

1951
1952
Stockhausen first heard Mode de valeurs at Darmstadt.
The electronic studio was established in Cologne.
Cage composed Music of Changes.
Cage began his experimentation with tape music.
Stockhausen went to Paris to study with Messiaen.

Stockhausen and Boulez became friends.
Stockhausen composed Klavierstcken IIV.
Boulez composed Structures.
1953
1954
Stockhausen joined the electronic studio in Cologne.

Cage met Stockhausen in Cologne.
Figure 3.1
Three divisions of the mode1
From Mode de valeurs et dintensits, by O. Messiaen, 1950, p. 2.
Figure 3.2
Analyses of Messiaens Mode de valeurs et dintensits reviewed in this chapter
Authors
Year of
Titles
Pages
publication
Klaus Schweizer
1973
Olivier Messiaens Klavieretude Mode de valeurs et dintensits
Roderich Fuhrmann
1974
Pierre Boulez (1925), Structures I (1952) in Perspektiven Neuer Musik:
8146
170187
Material und didaktische Information

Richard Toop
1974
Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez in Perspectives of New
141169
Music
Robert Sherlaw Johnson
1975
The experimental period 1949-1951 in Messiaen
Kate Covington
1980
Visual perception vs. aural perception: A look at Mode de valeurs et
101115
411
dintensits
Figure 3.3
Comparison of selected analyses of Mode de valeurs
Schweizer
Fuhrmann
Toop
Sherlaw Johnson
Covington
(1973)
(1974)
(1974)
(1975)
(1980)
Pre-compositionally
designed mode
Note order
Formal structure
Texture
Listeners perspective
Figure 3.4
Schweizers illustration of regrouping of notes2
From Oliver Messiaen Klavieretude Mode de valeurs et dintensits, by K. Schweizer,1973, Archiv fr Musikwissenschaft, 30(2), p. 140.
Figure 3.5
(a) Toops rearrangement of three divisions3
From Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez, by R. Toop, 1974, Perspectives of New Music, 13(1), p. 149.
Figure 3.5
(b)Sherlaw Johnsons rearrangement of the three divisions4
From Messiaen, by R. Sherlaw Johnson, 1975, p. 106.
Figure 3.5
(c) Schweizers rearrangement of the three divisions5
From Oliver Messiaen Klavieretude Mode de valeurs et dintensits, by K. Schweizer, 1973, Archiv fr Musikwissenschaft 30(2), p.132.
Figure 3.6
Fuhrmanns graphic illustration of the note order in Mode de valeurs6
From Pierre Boulez, Structures, by R. Furhmann, 1974, Perspektiven neuer Musik: Material und didaktische Information, p. 175.
Figure 3.7
Sherlaw Johnsons graphic illustration of the note order in Mode de
valeurs7
From Messiaen, by R. Sherlaw Johnson, 1975, p.108.
10
Figure 3.8
Six planes of sound in Covingtons analysis8
Sound plane 1
Sound plane 2
Sound plane 3
Sound plane 4
Sound plane 5
Sound plane 6
Note not belong in any sound plane
From Visual perception vs. aural perception: A look at Mode de valeurs et dintensits, by K.
Covington, 1980, Indiana Theory Review 3(2), pp. 7 & 9.
11
Figure 3.9
Covingtons analysis of Mode de valeurs9
From Visual perception vs. aural perception: A look at Mode de valeurs et dintensits, by K. Covington, 1980, Indiana Theory Review 3(2), p. 10.
12
Figure 3.10
(a, b, c and d) Reinterpretation of Sherlaw Johnsons note order into
the arrangement of durational values10

(a)
Example 1 (Bars 2428, Group 1)
12
11
4
10
5
9
6
8
Centre
1 + 12 = 13
4 + 9 = 13
2 + 11 = 13
5 + 8 = 13
3 + 10 = 13
6 + 7 = 13
(b)
Example 3 (Bars 3949, Group II)
11
(4)
7
(2)
10
12
Centre
(c)
(5)
12
11
(4)
10
Centre
(d)
Example 4 (Bars 5357, Group I)
1
6
2
5
4
8
12
3
9
11
10
Centre
6 + 7 = 13
11 + 2 = 13
12 + 1 = 13
4 + 9 = 13
5 + 8 = 13
10 + 3 = 13
10
From Messiaen, by R. Sherlaw Johnson, 1975, p. 108.
13
Figure 3.10
(e, f and g) Reinterpretation of Sherlaw Johnsons note order into the
(e)
Example 5 (Bars 6180, Group III)
-5 2
1
+6 7
(f)
3
8
10
11
12

1
(g)
12
11
10

4
3
5
4
9
2
6
10
1
7
11
8
12
14
Figure 3.10
(h)
(h and i) Reinterpretation of Sherlaw Johnsons note order into the arrangement of durational values
Symmetrical arrangement of durations in Bars 81-96

1

3
12
11
3
5
10
9 9
2
6
10
1
7
11
8
12
Centre of symmetry
(i)
1

2
10
(12)
(11)
15
Figure 3.11
11
(a) Messiaens Mode de valeurs (Bars 105115)11
16
Figure 3.11
115)
(b) Messiaens Mode de valeurs, Metrical reinterpretation (Bars 105
17
Figure 3.12
Motives
Motive I
Motive II
Motive III
18
Figure 3.13
Appearance of G512(Bars 5153)
Figure 3.14
Construction of seven-note mode (Hidden mode)
12
From Mode de valeurs et dintensits,), by O. Messiaen, 1950, p. 7.
19
Figure 3.15
(a) Comparison between the mode of limited transposition and the hidden mode
Mode 2
Hidden mode
20
Figure 3.15
(b) Comparison between the mode of limited transposition and the hidden mode
Mode 5
Hidden mode
21
Figure 3.15
(c) Comparison between the mode of limited transposition and the hidden mode
Mode 4
Hidden Mode
22
Figure 3.16
(a) Melodic cadence13 (Bars 2829)
Figure 3.16
(b) Melodic cadence14 (Bars 78)
13
14
23
Figure 3.16
15
(c) Melodic cadence15 (Bars 107111)
24
Figure 4.1
Analyses of Boulezs Structures Ia reviewed in this chapter
Authors
Year of
Titles
Pages
publications
Gyrgy Ligeti
1958*
Pierre Boulez: decision and automatism in Structures Ia in Die Reihe Vol. 4
36-62
Mary Wennerstrom
1967
Parametric analysis of contemporary musical form
46-87
Roderich Fuhrmann
1974
Pierre Boulez (1925), Structures Ia (1952) in Perspektiven Neuer Musik: Material und
170-187
didaktische Information
Reginald Smith Brindle
1975
The new music: The avant-garde since 1945
25-33
Lynden Deyoung
1978
Pitch order and duration order in Boulez Structures Ia in Perspectives of New Music
27-34
Paul Griffiths
1978
Boulez
19-27
Dominique Jameux
1984**
Pierre Boulez
269-284
Ursula Eckart-Bcker
1986
P Boulez: Structures I pour 2 Pianos In Werkanalyse in Beispielen
390-99
Yayoi Uno
1994
The roles of compositional aim, syntax, and design in the assessment of musical styles:
83-130
analyses of piano music by Pierre Boulez, John Cage, Milton Babbitt, and Iannis Xenakis
circa 1950
Morag Grant
2001
Serial music, serial aesthetics: compositional theory in post-war Europe
150-154
* The English translation of this article was published in 1960.

** The English translation of this book was published in 1991.
25
Figure 4.2 (a)
Boulezs initial series used in Structures Ia according to Ligeti1
Initial series for pitches
Initial series for durations
10
11
12
From Pierre Boulez, by G. Ligeti, 1960, Die Reihe, 4, pp. 38-39.
26
Figure 4.2 (a)
Boulezs initial series used in Structures Ia according to Ligeti2
Initial series for dynamics
10
11
12
Initial series for attacks
27
26
Figure 4.2 (b)

Boulezs two matrices used in Structures Ia3
Figure 4.2 (b) Boulezs two matrices used in Structures Ia 17
Original
Inversion
10 11
12
10 12
11
11
12
10
11
10
12 9
10
12
11
10
12
12
11
10
10
12
11 6
12
10
11
12
11
10 8
11
12 10
12 2
11 10
10
11
12
10
12
11
11
12
10
11
12
10 1
12
11
10
11 4
12 7
10
10
12
11
11
10
12
11
12
10
10
12
11
12
10
11
10
11
12
11
17
From Pierre Boulez, by G. Ligeti, 1960, Die Reihe, 4, p. 38.

From Pierre Boulez, by G. Ligeti,1975, Die Reihe, 4, p. 38
28
Figure 4.3 (a and b)
Comparison between Boulezs and Ligetis attack series
(a) Boulez4
10
11
12
(b) Ligeti5
4
5
From The Boulez-Cage correspondence, by J. Nattiez (Ed.), 1993, p. 101.

29
28
Figure 4.4
Sectional divisions in Structures Ia according to Ligetis
analysis6
Figure 4.4 Sectional divisions in Structures Ia according to Ligetis analysis 19

PART A
PART B
Section
IIa
IIb
IIc
III
IVa
IVb
VI
VII
VIII
IX
XI
Number
of
threads
Bars
1-7
8-15
16-23
24-31
32-39
40-47
48-56
57-64
65-72
73-81
82-89
90-97
98-105
106115

19
From Pierre Boulez, by G. Ligeti,1975, Die Reihe, 4, pp. 49
30
Figure 4.5
Ligetis examples for the superimposition of threads7
Two threads superimposed in section I
Four threads superimposed in section IVa
31
Figure 4.6
Wennerstroms analysis of combined dynamic levels in Structures Ia8
Measure
17
815
1647
4856
5764
Dynamic level
12, 5
7(2), 2(2)
11(2), 8
7(2), 2(2), 5
12
soft
Loudest
(labeled by
assigned
5(2), 11(3,) 8
numbers)
Resultant effect
mixed
soft
loud
Measure
6572
73015
106115
Dynamic level
2, 1, 3 (2), 7
6, 9, 1
1(2), 2, 3(2), 7
7, 9, 2, 6
7, 9, 2, 6
6, 9
Resultant effect
soft
mixed (medium)
softest
From Parametric analysis of contemporary musical form, by M. Wennerstrom, 1967, p. 52.
32
Figure 4.7
Wennerstroms analysis of combined attack levels in Structures Ia9
Measure
115
1623
2431
3247
Mode of attack
12, 5
3(2), 5
12
8, 3, (2), 11, 12, 1(3), 11, 8, 1
(labeled by
12, 5, 8, 11
5, 11, 8
assigned
4864
5(2), 11(3,) 8
numbers)
Resultant effect
legato
Measure
6589
90115
Mode of attack
6(3), 12, 1
9(3), 1
12, 2, (2)
7, 5
6(3), 1
9 (3), 5, 7, 1
Resultant effect
legato
staccato
legato
staccato and sfz accented
accented and
From Parametric analysis of contemporary musical form, by M. Wennerstrom, 1967, p. 52.
33
Figure 4.8
Griffiths graph illustrating the tempo, density and registral
distributions of pitches in each formal sections10
10
From Boulez, by P. Griffith, 1978, p. 23.
34
Figure 4.9
11
Eckart-Bckers analysis of the arrangement of three tempi11
From P. Boulez: Structures I pour 2 pianos, by U. Eckart-Bcker, 1986, Werkanalyse in Beispeilen, p. 393.
35
Figure 4.10
Unos analysis of registral distributions of pitch rows in Boulezs
Structures Ia12
(Semibreves represent common notes shared by rows within a section)
12
From The roles of compositional aim, syntax, and design in the assessment of musical styles:
Analyses of piano music by Pierre Boulez, John Cage, Milton Babbitt, and Iannis Xenakis circa 1950,
by Y. Uno, 1994, p. 98.
36
Figure 4.11
Unos analysis of segmental and sectional TG boundaries13
13
From The roles of compositional aim, syntax, and design in the assessment of musical styles:
Analyses of piano music by Pierre Boulez, John Cage, Milton Babbitt, and Iannis Xenakis circa 1950,
by Y. Uno, 1994, p. 126.
37
32
Figure 4.8 Model of serial communication according to Grant 23
Figure 4.12
Model of serial communication according to Grant14
Composer
Choice of rational
procedures to give
irrational results
Serial Piece
Listener
irrational sequences
of musical events
Figure 4.9 Boulezs pitch series used in Structures Ia24
23
From Serial music, serial aesthetics: Compositional theory in post-war Europe, (p. 157), by M.
Grant, 2001, Cambridge: Cambridge University Press.
24
From The Boulez-Cage correspondence, (p. 100), by J. Nattiez (Ed.), 1993, Cambridge: Cambridge
University
Press.
14
From Serial music, serial aesthetics: Compositional theory in post-war Europe, by M. Grant, 2001,
p. 157.
38
Figure 4.13 (a)
Density variability of the 14 abstract formal sections of Structures Ia.
(Each square represents a thread)
Sections
IIa
IIb
IIc
III
VIa
VIb
VI
VII
VIII
IX
XI
39
Figure 4.13 (b)
Density variability and the 11 actual formal sections of Structures Ia separated by pauses.
(Again each square represents a thread).
IIa
IIb
IIc
III
IVa
IVb
VI
VII
VIII
IX
XI
40
Figure 4.14
Sections: I
15
Opening chords of the 14 abstract formal sections in Structures Ia15
IIa
IIb
IIc
III
IVa
IVb
VI
VII
VIII
IX
XI
Eb4 and Eb1 are also shown in section V and XI respectively as the last note played in the section.
41
Figure 4.15
Opening chords with the interval of a compound fifth
Sections: IIa
III
IVb
VI
IX
42
Figure 4.16
Sections: IIb
Opening chords without the interval of a compound fifth
IVa
VII
VIII
XI
43
Figure 4.17 (a)
Summary of tritone relationships
44
Figure 4.17(b)
Pitch series paired in tritone relationships
Tritone
EbA
CF#
FB
GC#
RI8RI5
R12R11
Relationship
Series paired O1O3
in Part 1
I1I3
Series paired R5R8

in Part 2
I9O6
RI12RI11
R7RI2
RI5R1
45
Figure 4. 18 Repeated pitches shared by all the pitch series used in each abstract formal section
Section: I
IIa
IIb
IIc
III
IVa
IVb
VI
VII
VIII
IX
XI
46
Figure 4.19
Density levels and the number of repeated pitches in each abstract formal section
Sections
II a
II b
II c
III
IV a
IV b
VI
VII
VIII
IX
XI
Density
Repeated
12
12
12
pitches
47
Figure 4.20
Relationship between the density variable and the arrangement of
dynamics
Density
Sections
Assigned dynamics
III
quasi p, quasi p, quasi f, fff, fff
XI
pppp, ppp, ppp, pp, pp, mf
IV(b)
ppp, ppp, quasi p, mf, mf
VI
pppp, ppp, pp, pp, mf
II(a)
ppp, ppp, mf, mf
VIII
ppp, mp, mf, f
IX
ppp, mp, mf, f
II(b)
quasi f, fff, fff
VII
pppp, mf, f
quasi p, ffff
IV(a)
quasi f, ff
mp, f
II (c)
quasi f
ffff
levels
6
5
4
3
2
48
Figure 4.21
Categorisation of attacks
Types of attacks
Symbols
Sustained sounds
none
Non-sustained
sounds
49
Figure 4.22
Relationships between the types of attacks and the density level
Types of attacks
Abstract formal sections
Density level
Sustained sounds
II(b)
VIII
VI
IV(a)
Non-sustained sounds
Mixture of sustained and X
non-sustained sounds
II(b)
VII
II(a)
IX
IV(b)
III
XI
50
Figure 4.23
Two overlapping symmetries for the arrangement of tempo
(The three tempi are abbreviated as follows: S for Slow: semiquaver=144, M for
Medium: quaver=120, and F for Fast: quaver=144.)
M F S F M
M S F M F S M
51
Figure 4.24
Golden Section ratio16
0.618034 . . .
0.618034 . . .
16
From Debussy in proportion: A musical analysis, by R. Howat, 1983, p. 2.
52
Figure 4.25
Iteration table illustrating the calculations application of the GS
ratio
Iteration No.
DSQ count
Result
Remainder
0.6180340
1092
675
417
0.6180340
675
417
258
0.6180340
417
258
159
0.6180340
258
159
98
0.6180340
159
98
61
0.6180340
98
61
38
0.6180340
61
38
23
0.6180340
38
23
14
0.6180340
23
14
10
0.6180340
14
11
0.6180340
12
0.6180340
13
0.6180340
14
0.6180340
53
Figure 4. 26 The application of the GS ratio to the 14 abstract formal sections
54
Figure 4.27
Sections
The cumulative calculation for the real time of the entire piece
Duration
Duration
(Split Sec)
(Sec)
Duration
cumulative
585
487.5
487.5
487.5
1170
487.5
487.5
585
1170
487.5
585
487.5
1170
585
9.75
8.125
8.125
8.125
19.5
8.125
8.125
9.75
19.5
8.125
9.75
8.125
19.5
9.75
585
1072.5
1560
2047.5
3217.5
3705
4192.5
4777.5
5947.5
6435
7020
7507.5
8677.5
9262.5
Total
(Split Sec)
Total
(Sec)
Total
(min)
9262.5
DSQ
Cumulative
(Split Sec)
I
IIa
IIb
IIc
III
IVa
IVb
V
VI
VII
VIII
IX
X
XI
78
156
234
312
390
468
546
624
702
780
858
936
1014
1092
154.375
2.57
55
Figure 4. 28 The range of section VI and GS primary point in relation to the assumed duration values for pauses
Range of section VI and GS primary point (within VI)

S|L Pauses (sec)
0|0
Starting point
Ending point
Total Duration
GS Primary
4777.5
5947.5
9262.5
5725
1|2
5197.5
6367.5
10162.5
6281
1|3
2|3
5317.5
6487.5
10462.5
6466
5497.5
6667.5
10762.5
6652
Range of section VI and GS primary point (out of range)

S|L Pauses (sec)
Starting point
Ending Point
Total Duration
GS Primary
1|4
2|4
2|5
3|6
4|8
4|10
5|10
5|15
5437.5
6607.5
10762.5
6652
5617.5
6787.5
11062.5
6837
5737.5
6907.5
11362.5
7022
6037.5
7207.5
11962.5
7393
6457.5
7627.5
12862.5
7949
6697.5
7867.5
13462.5
8320
6877.5
8047.5
13762.5
8506
7477.5
8647.5
15262.5
9433
56
Figure 4.29
The range of section VI and GS primary point in relation to the
pause durations
57
Figure 4.30
Complementary features of sections VI(a) and VI in relation to the
GS ration
58
Figure 4.31
A structural connection between the three tempi and the GS
proportional system
59
Figure 4.32
Tempi: M
The relationship between the tempo structure and the static sound textures
60
Figure 5.1
Analyses of Stockhausens Klavierstck III reviewed in this chapter
Authors
Year of
Titles
Pages
Publication
Rudolf Stephan
1958
Neue Musik [New music]
6064
Dieter Schnebel
1958*
Karlheinz Stockhausen in Die Reihe Vol. 4
Jonathan Harvey
1975
The music of Stockhausen: an introduction
2227
Robin Maconie
1976
The works of Karlheinz Stockhausen
6266
Paul Griffiths
1981b
Modern music: The avant-garde since 1945
8587
Nicolas Cook
1987
A guide to musical analysis
David Lewin
1993
Making and using a pcset network for Stockhausens Kalvierstck III in
121135
354363
1667
Musical form and transformation: 4 analytic essays

Christoph von Blumrder
1993
Kriterien der seriellen Komposition (1952) in Die Grundlegung Der
109154
Musik Karlheinz Stockhausen [Criteria of serial composition (1952) in

Laying the foundation of Karlheinz Stockhausens music]
Paul Griffiths
1995
Modern music and after: Direction since 1945
Robin Maconie
2005
Other planets: the music of Karlheinz Stockhausen
7275
118120
* The English translation of this article was published in 1960.
61
Figure 5.2
Formal
Structure
Pitch
Organisation
Durational
Organisation
Dynamic
Arrangement
Registral
Distribution
Contour
Texture and
Density
Perspective
of a listener
and
performer
Comparison of selected analyses of Klavierstck III
Stephan
(1958)
Schnebel
(1958)
Harvey
(1975)
Maconie
(1976, 2005)
Griffiths
(1981, 1995)
Cook
(1987)
Lewin
(1993)
Blumrder
(1993)
62
Figure 5.3
Comparison of four authors interpretations of formal structure of Klavierstck III
Authors
Number of divisions
Proportion relationship
Considerations for determining the formal structure
Stephan
484 (bars)
Harmonic implication
Schnebel
91516109 (quavers)
Closely related time-structures in symmetry
Cook
8(8 + 8)111111 (quavers)
Aid for performer, convenient basis for more detailed

analysis, a neat durational scheme and groupings
Blumrder
4444 (bars)
Melodic contour, corner tone (the lowest and highest notes

in each section) and core interval (major second AB).
63
Figure 5.4
28
Blumrders interpretation of the formal structure of Klavierstck III 28
From Die Grundlegung Der Musik Karlheinz Stockhausen, by C. Blumrder, 1993, p. 114..
64
Figure 5.5
Schnebels interpretation of five-part formal structure of Klavierstck III29
Group
29
Notes
Durations
Intensities
Selection
Distribution
Selection
Distribution
Sel.
Distr.
Notes within a
regions of 3.5
octaves
Fairly even distribution of the

notesdensity decreases toward the
top (elucidation).
Durations within a region

from the middle upwards.
Mainly high durations, a few

low vertices
4f
4mf
4p
Contrasts of p-mf
f-mf rising to f
II
2.25 octaves
Notes arranged in three registerbandsat the borders and in the

middle. Elucidation toward the
bottom.
Durations within the whole

available region.
Mainly durations in the

middle lower region. Few
high vertices.
4f
3mf
5p
Three complexes: mf
mfpmf
f
III
3.1 octaves
Notes distributed fairly evenly,

grouped in high and low complexes,
high density.
Durations within the whole

available region.
Mainly medium durations
6f
6mf
4p
Contrast alteration and

mingling
IV
2.75 octaves
Notes arranged in four registerbands. Elucidation toward the top.
Durations within the entire

available region.
Mainly durations within the

middle and upper region. Few
low vertices.
4f
3mf
3p
Complexes
p-mf
p-f
mf-f
4.1 octaves
Average even distribution of notes.

Elucidation toward the bottom. Low
density.
Durations within a low

region.
Medium durations, one low

vertex.
1ff
1mf
2p
f
Contrast of mf-p and fff (rising to ff)
From Karlheinz Stockhausen, by D. Schnebel, 1975, Die Reihe, 4, pp.126127.
65
Figure5.6
30
Cooks interpretation of the formal structure of Klavierstck III30
From A guide to musical analysis, by N. Cook,1987, p. 359.
66
Figure 5.7
Analytical approaches for pitch organisation in Klavierstck III
67
Figure 5.8
31
Cooks pitch distribution analysis in Klavierstck III31
From A guide to musical analysis, by N. Cook, 1987, p. 362.
68
Figure 5.9
32
Blumrders three-part durational divisions in Klavierstck III 32
From Die Grundlegung Der Musik Karlheinz Stockhausen, by C. Blumrder, 1993, p. 124.
69
Figure 5.10
Blumrders analysis of tetrachords and durational scheme of
Klavierstck III33
33
70
Figure 5.11
34
Blumrders analysis of the serial organisation in Klavierstck III34
71
Figure 5.12
Harveys illustration of pentachords and melodic contour in
Klavierstck III35
35
From The music of Stockhausen, by J. Harvey, 1975, p. 26.
72
Figure 5.13
Lewins rearrangement of pentachords in Klavierstck III for ear-
training purposes36
36
From Musical from and transformation: four analytical essays, by D. Lewin, 1993, p. 42.
73
Figure 5.14
J-Related forms of pentachords retrieved from Lewins analysis37
J relationships
Conversion to Pitches
Invariant chromatic
tetrachordal subsets
37
P0 and p0
(Ab, A, Bb, B, D) and (F, G#, A, Bb, B)
Ab, A, Bb, B
P6 and p6
(D, Eb, E, F, Ab) and (B, D, Eb, E, F)
D, Eb, E, F
P8 and p8
(E, F, F#, G, A#) and (Db, E, F, Gb, G)
E, F, F#, G
P2 and p2
(A#, B, C, C#, E) and (G, A#, B, C, C#)
A#, B, C, C#
Note. P for pentachord and p (lower-case) for inverted form of P and the content of the above
figure is derived from Lewins analysis. From Musical from and transformation: Four analytical
essays, D. Lewin, 1993, pp. 2632.
74
Figure 5.15
Maconies analysis of rhythmic cells used in Klavierstck III38
A. Original form of rhythmic cell in bar 1
B. Variation of rhythmic cell in bar 2
C. Pictorial illustration of rhythmic cells to bar 8
Figure 5.16
Cooks interpretation of the rhythmic relationship of five-part form
using Cooper-Meyers rhythmic symbols39
38
From Other planets: The music of Karlheinz Stockhausen, by R. Maconie, 2005, pp. 119120.
39
From A guide to musical analysis, by N. Cook, 1987, p. 362.
75
Figure 5.17
Blumrders analysis of the serial organisation of durations in
Klavierstck III40
Figure 5.18
Blumrders reinterpretation of bar 841
40
41
76
Figure 5.19
Blumrders analysis of the serial organisation of dynamics in
Klavierstck III42
Figure 5.20
Blumrders analysis of permutations of dynamics in Klavierstck III43
42
43
77
Figure 5.21
44
Schnebels graphic illustration of Klavierstck III44
From Karlheinz Stockhausen, by D. Schnebel, Die Reihe, 4, page number is not provided.
78
Figure 5.22
Blumrders analysis of the serial organisation of registers in
Klavierstck III45
Figure 5.23
Blumrders analysis of permutations of registers in Klavierstck III46
45
From Die Grundlegung Der Musik Karlheinz Stockhausen, by C. Blumrder, 1993, pp. 128129.
46
79
Figure 5.24
47
Schnebels graphic illustration of a dense network of relationships47
From Karlheinz Stockhausen, by D. Schnebel, Die Reihe, 4, p. 131.
80
Figure 5.25
Blumrders analysis of the serial organisation for density in
Klavierstck III48
Figure 5.26
density49
Blumrders analysis of the relationship between articulation and
48
49
81
Figure 5.27
My analysis of the five groups in Klavierstck III50
50
Karlheinz Stockhausen, Klavierstcke 14|fr Klavier|Nr. 2 (c) Copyright 1954 by Universal Edition
London (Ltd.), London/UE 1225.
82
Figure 5.28
Comparison between my interpretation and Schnebels interpretation
of groups (My interpretation is indicated by squares and Schnebels one is indicated

by curved lines.)51
51
83
Figure 5.29
Comparison between my interpretation and Cooks interpretation of
groups (My interpretation is indicated by squares and Cooks one is indicated by

curved lines.)52
52
84
Figure 5.30
Group 1 (bars 12) from Klavierstck III53
Figure5.31
53

54
85
Figure 5.32
Subgroups of durations used in Group 2
A. Subgroup 1
B. Subgroup 2
C. Subgroup 3
86
Figure 5.33
Symmetrical relationships between dynamics and registers in Group 2
87
Figure 5.34
55
Group 3 (bars 810.3) from Klavierstck III55
Karlheinz Stockhausen, Klavierstcke 14|fr Kalvier|Nr. 2 (c) Copyright 1954 by Universal Edition
88
Figure 5.35
Symmetrical arrangements of intervals in Group 3
Min.3rd
Com. Min.3rd
Maj. 6rh
Com. Min.2nd
Com. Min.2nd
Aug. 4th
Com. Min.3rd
Com. Min.2nd
Com. Min.2nd
Aug. 4th
Maj. 3rd
89
Figure 5.36
Symmetrical arrangements of durational values in Group 3
Centre
90
Figure 5.37
56
Group 4 (bars 10:413) from Klavierstck III56
91
Figure 5.38
Symmetrical relationships in Group 4
92
Figure 5.39
Centre of metrical division
57
93
Figure 6.1
Analyses of John Cages Music of Changes reviewed in this chapter
Authors
Year of
Titles
Pages
The development of chance techniques in the music of John Cage, 19501958

Transformationen des Zeitbegriffs in John Cages Music of Changes
[Transformation of time-concept in John Cages Music of changes] in
MusickKonzepte
The music of John Cage
107156
The roles of compositional aim, syntax, and design in the assessment of

musical styles: analyses of piano music by Pierre Boulez, John Cage,
Milton Babbitt, and Iannis Xenakis circa 1950
131186
publication
James Pritchett
1988
Stefan Schdler
1990
James Pritchett
1993
Yayoi Uno
1994
185236
7888
94
Figure 6.2
58
Pritchetts diagram of phrase group structure58
From The development of chance techniques in the music of John Cage, 19501956, by J. Pritchett, 1988, p. 110.
95
Figure 6.3
Relationship between phrases and a phrase group (Cage refers to them as small and large unit structures)
A phrase group (Large unit structure)
Phrases (Small unit structures)
96
Figure6.4
Relationship between phrase groups and the structure of the entire
piece
Book 1 (Three phrase groups)
Book 2 (11 phrase groups)
11
6
97
Figure 6.5 Chart structure59
59
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
59
60
61
62
63
64
65
From The development of chance techniques in the music of John Cage, 19501956, by J. Pritchett,
1988 p. 113.
98
Figure 6.6
60
Sound chart 260
From The music of John Cage, by J. Pritchett, 1993, p. 80.
99
Figure 6.7
Subdivision of sound Chart: 44=16 61
2
3
4
1
12 chromatic
pitches need to
be used within
subdivisions
3
4
* elements coloured with grey are silences
61
The diagram is produced based on Pritchetts explanation from The development of chance
techniques in the music of John Cage, 19501956, by J. Pritchett, 1988, pp. 117118.
100
Figure 6.8
62
Durational chart 262
101
Figure 6.9
63
Dynamic chart 863
ffff>f
ff>p
f>ppp
p>ppp
f>ppp
ffff
f>pp
ffff>f
ffff>ff
mf>pp
fff>mf
p>ppp
p>pp
ffff>ff
mf>mp
102
Figure 6.10
Density chart64
Hexagrams
Active layers
18
9 16
1+2
17 24
1+2+3
25 32
1+2+3+4
33 40
1+2+3+4+5
41 48
1+2+3+4+5+6
49 56
1+2+3+4+5+6+7
57 64
1+2+3+4+5+6+7+8
64
From The development of chance techniques in the music of John Cage, 19501956, by J. Pritchett,
1988, p. 124.
103
Figure 6.11
Summary of the compositional process based on Pritchetts analysis
Determining the
tempo and density
for each phrase
according to the
hexagram number
selected by chance
Using the same
Composing each layer within a

phrase
hexagram number
chosen for the first
phrase, determining the
relationship between
mobile and immobile
chart for the given
phrase group
1. Hexagram number for

sound or silence
duration
Repeating the
entire process
until the end
of the piece

dynamic when sound is
selected.
104
Figure 6.12
Terminology comparisons between Pritchett, Schdler and Cage
Rhythmic Structure
Pritchetts terminologies
Schdlers terminologies
Cages terminologies
(3, 5, 6, 6, 5, 3 )
3 , 5 , 6 , 6 , 5, and 3
Phrases
Small structural units
Small unit structural point
A phrase group
Middle structural unit
Large unit structural point
(each number refers to the number of bars)

29 bars
Intermediate structural point

4 books (3, 11, 6, 8)
4 parts
4 Large structural units
4 Books
(each number refers to the number of phase

groups and middle structural units)
105
Figure 6.13
Mobile and immobile relationships in chart system65
Book 2
Section (Abschnitt)
11
12
Mobile (beweglich)
1357
2468
1357
2468
1357
2468
1357
2468
1357
2468
Immobile (unbeweglich)
2468
1357
2468
1357
2468
1357
2468
1357
2468
1357
Section (Abschnitt)
Mobile (beweglich)
2468
2468
2468
2468
1357
1357
1357
1357
1357
1357
1357
2468
2468
2468
Section (Abschnitt)
Mobile (beweglich)
2468
1357
2468
1357
1357
2468
1357
2468
1357
2468
1357
2468
2468
1357
2468
1357
Book 3
Book 4
65
From Transformatione des Zeitbegriffs in John Cages Music of Changes [Transformation of the time-concept in John Cages Music of Changes], by S. Schdler, 1990,
MusikKonzepte, 90, pp. 195196.
106
Figure 6.14 Segmented duration in visual measurement66
66
From The Boulez-Cage correspondence, by J. Nattiez, 1993, p. 95.
107
Figure 6.15
Comparison between the compositional systems of Cages Music of Changes and Boulezs Structures Ia
Five components
Music of Changes
Structures Ia
Pre-determined structure
Rhythmic Structure
11-section formal structure
Pre-determined musical parameters
Sound, duration, dynamics, density and tempo
Pitch, duration, dynamic, attack, density and tempo
Pre-designed series or charts
8 charts each for sound, duration and dynamics
Series for pitch, duration, dynamic and attack
1 chart for density and 1 chart for tempo

Selection process
Chance operations through tossing of coins
Serial ordering according to matrices
Process of combining the all necessary
Creating a layer and superimposing layers
Creating a layer and superimposing layers
musical elements
according to the given density level
according to the given density level
108
Figure 6.16 The range for each pre-determined parameter in Music of Changes and Structures Ia
Pre-determined parameters
Music of Changes
Structures Ia
Pitch (Sound)
12 chromatic pitches and percussive sounds
12 chromatic pitches
Duration
Demisemiquaver Semibreve
Demisemiquaver Dotted-crotchet
Dynamic
pppp ffff
pppp ffff
Attack
Combined with dynamics
12 types of attack
Density
1 to 8
1 to 6
Tempo
Mixture of slow, medium and fast tempi
Mixture of slow, medium and fast tempi
109
Figure 6.17 (a) Cages spatial notation in Bars 131133 of Book III67 (The length of one bar is 10 cm according to Cages instruction, although
the published score is reduced to 85% of this size.)
67
From Music of Changes, by J. Cage, 1961, p. 58.
110
Figure 6.17 (b) Recirculation of Cages notation in bars 131-133 of Book III
Figure 6.17 (c) Recirculation of Cages notation in bars 131-133 of Book III
111

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MUSIC ANALYSIS AND THE AVANT-GARDE COMPOSITIONS OF

POST-WORLD WAR II: FOUR CASE STUDIES

Figure 4.21 Categorisation of attacks

Four composers and four piano works

Four composers and four piano works

Boulez became Messiaens student

Darmstadt summer courses commenced.

Schaeffer began experimenting with tape music at the

Cage met Messiaen and Boulez in Paris.

Cages Sonatas and Interludes for prepared piano was

Messiaen composed Mode de valeurs.

The correspondence between Boulez and Cage began.

Stockhausen first heard Mode de valeurs at Darmstadt.

The electronic studio was established in Cologne.

Cage composed Music of Changes.

Cage began his experimentation with tape music.

Stockhausen went to Paris to study with Messiaen.

Stockhausen joined the electronic studio in Cologne.

Three divisions of the mode1

From Mode de valeurs et dintensits, by O. Messiaen, 1950, p. 2.

Analyses of Messiaens Mode de valeurs et dintensits reviewed in this chapter

Olivier Messiaens Klavieretude Mode de valeurs et dintensits

Pierre Boulez (1925), Structures I (1952) in Perspektiven Neuer Musik:

Material und didaktische Information

Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez in Perspectives of New

The experimental period 1949-1951 in Messiaen

Visual perception vs. aural perception: A look at Mode de valeurs et

Comparison of selected analyses of Mode de valeurs

Schweizers illustration of regrouping of notes2

(a) Toops rearrangement of three divisions3

(b)Sherlaw Johnsons rearrangement of the three divisions4

From Messiaen, by R. Sherlaw Johnson, 1975, p. 106.

(c) Schweizers rearrangement of the three divisions5

Fuhrmanns graphic illustration of the note order in Mode de valeurs6

Sherlaw Johnsons graphic illustration of the note order in Mode de

From Messiaen, by R. Sherlaw Johnson, 1975, p.108.

Six planes of sound in Covingtons analysis8

Note not belong in any sound plane

Covingtons analysis of Mode de valeurs9

(a, b, c and d) Reinterpretation of Sherlaw Johnsons note order into

the arrangement of durational values10

Example 1 (Bars 2428, Group 1)

Example 3 (Bars 3949, Group II)

Example 2 (Bars 2939, Group II)

Example 4 (Bars 5357, Group I)

From Messiaen, by R. Sherlaw Johnson, 1975, p. 108.

(e, f and g) Reinterpretation of Sherlaw Johnsons note order into the

arrangement of durational values

Example 5 (Bars 6180, Group III)

Example 6 (Bars 8186, Group I)

Example 7 (Bars 8696, Group II)

Symmetrical arrangement of durations in Bars 81-96

Example 6 (Bars 8186, Group I)

Example 7 (Bars 8696, Group II)

Example 8 (Bars 103107, Group I)

(a) Messiaens Mode de valeurs (Bars 105115)11

From Mode de valeurs et dintensits, by O. Messiaen, 1950, p. 11.

(b) Messiaens Mode de valeurs, Metrical reinterpretation (Bars 105

Appearance of G512(Bars 5153)

Construction of seven-note mode (Hidden mode)

From Mode de valeurs et dintensits,), by O. Messiaen, 1950, p. 7.

(a) Melodic cadence13 (Bars 2829)