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DIRECTED
MOTION IN SCHOENBERG
AND WEBERN
ROY TRAVIS
FELIX
SAL
Z ER 'S
OP.
19,
NO.
of resolution3
or the cumbersome
if stylishirrelevancies
of mathe-
85
OF NEW
PERSPECTIVES
MUSIC
86
DIRECTED
MOTION
IN SCHOENBERG
AND
WEBERN
PIANO
VARIATIONS,
OP.
27,
SECOND
MOVEMENT
87*
OF NEW
PERSPECTIVES
MUSIC
to hearingsuchprogressions
"galaxy"oftones.The chiefimpediment
in thispiecewouldbe theonealreadymentioned,
namely,thatsincea
melodic
is
given
progression alwayspresentedtogetherwithits inin
version, purelyauditorytermsthereis no way forthe listenerto
knowwhena voice-crossing
is intended.
2. Melodic progressionis to be understoodonly as motionfroma
given dyad to a directlyadjacent dyad closer to or furtheraway from
the common axis of symmetry.This definitionseems to offerthe
howadvantageof immediateauditoryintelligibility.
Unfortunately
it is clearlyapplicableonlyto
ever,as faras I am able to determine,
mm.6-9 ofthismovement.
Ex. 8.)
(See bracketed
context,
3. Melodic progressionmay occur fromany degree to any other,
regardlessof octave registration,providingthat it is not necessaryto
assume a voice-crossingor inversionof a dyad. For example, if the
9 If, for example, the left hand were to have been played f and the right hand
p,
it might have been easier to hear a principal form crossing its inversion in the
monochrometimbreof the piano.
88 a
DIRECTED
MOTION
IN SCHOENBERG
AND WEBERN
S89