Exploring Selected Twelve-Tone Serial Piano Works by Schoenberg and Dallapiccola

Journal: Arts Studies and Criticism DOI: 10.32629/asc.v4i2.1456

Ming Zhao

The Chinese University of Hong Kong, Shenzhen, Shenzhen 518172, Guangdong, China


This paper delves into the comparison of following compositions — Schoenberg’s Piano Suite, Op.25 and Dallapiccola’s Quaderno Musicale di Annalibera. The objective of this paper is to examine and provide answers to the following three enquiries: 1. What are the similarities beetween Piano Suite, Op.25 and Quaderno Musicale di Annalibera? 2. In what ways do these two compositional works, both utilising the same serial technique, exhibit differences? 3. Following the analysis, what advantages may be derived for the teaching process and performance? This study aims to enhance the larger comprehension of serial piano compositions and their contextual significance within the realm of serial technique by conducting a thorough examination of Piano Suite, Op.25 and Quaderno Musicale di Annalibera. By unraveling their similarities, differences, and educational implications, this research endeavors to provide valuable insight for performers, educators, and enthusiasts passionate about exploring the rich world of contemporary classical music.


twelve-tone serial, Schoenberg, Dallapiccola, contemporary classical music


[1]Burkholder, James Peter. A History of Western Music. New York: W.W. Norton & Company, 2010: 811.
[2]Arnold Schoenberg. Composition with Twelve Tone (1941).In Style and Idea. 1984: 232.
[3]Ben Earle. Twelve-Note Music as Music: an Essay in Two Parts. Music Analysis. 2015; 34(1): 126.
[4]Don Michael Randel. The Harvard Dictionary of Music. 2003: 516.
[5]James Kinney. Twelve-tone Serialism: Exploring the Works of Anton Webern. Undergraduate Honors Theses, University of San Diego, 2015: 18.

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