Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World Page: 20
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Row typography, then, provides two levels of tertian structures with each pro-
moting tonal coherence. At the same time, however, structural levels exist within the
dodecaphonic framework as well (see Fig. 11).
Dodecaphonic Structure IG G Eb B
P-0 I-0 R-8 RI-4Fig. 11. Four-row structural group in Movement 1
The essential constructive element in the first movement is a successive presen-
tation of four row forms, a dodecaphonic structure normally consisting of each of the
possible row presentations P, I, R, and RI. The four-row group that begins the first
movement and that recurs throughout the movement, either in exact row ordering or with
modifications, is identified as P-0, I-0, R-8, and RI-4 (Dodecaphonic Structure I).
Since the same row is used for all four movements of the concerto, the tertian
structures inherent through row topography are not limited to the first movement. An
analysis of the concerto's second and third movements also exemplifies constructive
elements at both tertian and dodecaphonic levels.
The appearance of traditional features, such as tertian structures, within a dodeca-
phonic work is not new to twentieth-century repertory and certainly not new to Vogel.
Both Arnold Schoenberg and Anton Webern composed works using the twelve-tone
method which exhibit features common in works of the nineteenth-century. As a means20
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Hale, Jacquelyn. Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World, dissertation, December 2002; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc3344/m1/34/: accessed April 25, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .