The Shadow of Webern in Morton Feldman's Violin and Orchestra

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  • モートン・フェルドマンの《ヴァイオリンと管弦楽》におけるウェーベルンの影

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Morton Feldman's music and its aesthetics have hitherto been studied from various points of view. However, we find little research on the relationship between Feldman's work and serial music, besides a very general statement that his music is set against serialism. In fact, Feldman's music is not serial music. Although it shares with serial music an aesthetic attitude of casting off or deconstructing the system of traditional music, Feldman's music holds ultimately a stance quite removed from serial music. In other words, while serialism strived to systematize the intertonal relationships in musical structure, Feldman, in contrast, focused on the characteristic existence of each individual sound in music and laid stress upon the sound in its own right. It is interesting that, despite this fundamental discrepancy, in Feldman's later works we find some references to compositional techniques of dodecaphony, typical of Webern's serialism. This paper examines Feldman's reference in one of his later works, Violin and Orchestra, composed in 1979, to Webern's serial compositional techniques.





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