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This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound c***equences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed ***yses, however, Professor Bailey ***s a fundamentally traditional ***ect to Webern's creativity, when describing his own music. Professor Bailey ***yses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These ***yses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcripti*** of little-known drafts and sketches. A most valuable ***ect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix c***tructed for each, and exhaustive row ***yses.

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This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound c***equences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed ***yses, however, Professor Bailey ***s a fundamentally traditional ***ect to Webern's creativity, when describing his own music. Professor Bailey ***yses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These ***yses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcripti*** of little-known drafts and sketches. A most valuable ***ect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix c***tructed for each, and exhaustive row ***yses.