Szigeti Máté Csaba

The Changing Concept of Form in Anton Webern’s Art
Máté Csaba Szigeti

Webern’s form world is examined also from the direction of the Austrian-German musical tradition and the interpretations of posterity. It leans on the legacies of past (archetypes of musical form, classical schemas in compositional thinking, influences of Beethoven’s form world, tradition of the German Lied, etc.) and points to future schools of composition (particularly to the serialist techniques of the 50’s). However, over the several obvious relations this ouvre, born at intersection of traditions, stands apart the continuity of history: it accumulates experiences of capacious times, therefore the rules of time and sound arrangement become independent from the age they were born in, they become timeless and universal.

Relation of Sound-System and Time-Dimensions in Anton Webern’s String Quartet
Máté Csaba Szigeti

Present study shows how the coherencies of sound elements define time-dimensions in Anton VVebern's piece, Streichquartett Op. 28. Re-defining the structure of sounds (not only in historical aspect, but in the connection of the prevailing creation of musical composition) makes necessary to reconstruct the time-units as well. The main question of the formal analysis may be how these two properties of structures (usually examined separately) affect each other, particularly in the case of those pieces in which either of them appears already in the phase of pre-composition. (For instance, the early musical praxis of cantus firmus technique, proportional canons, treatment of all material imported from outer sources into the composition (e.g. folksong-arrangement), the serial techniques of the 20^th century, rhythmical structures, etc.)