An Analysis Of The Creation Techniques Of Berger’s Chamber Concerto

This paper starts with the analysis of the creation techniques of Berger’s Chamber Concerto,and through the analysis of the pitch organization of this work: this work is a non-strict twelve-tone sequence work.From the aspect of tonality,it is a free atonal work,but there are tonality factors in some parts.Pitch organization: This piece uses a total of two 12-tone sequences.Including the first movement using only the first twelve sequence(#E-#F-#G-#C-A-D-b E-C-B-b B-E-G).The second and third movements use not only the second twelve-tone sequence(B-G-F-A-D-b E-#F-#G-C-#C-E-b B),but also the reflections,retrograde,and retrograde reflections of the first twelve-tone sequence.The twelve-tone sequence pitches are used only for melodic parts and do not use various shifts or longitudinal pitches combined throughout the work.Many aspects of this work,especially the musical form structure,have a great relationship with numerology: the work has three movements,the number of measures of each movement is a multiple of "three",and the theme length of the first movement is also 30 measures,which fully reflects Berg’s love for the number "three".The purpose of this thesis is to analyze Berg’s creative techniques in the transition period from tonality to atonal to strict twelve-tone sequence.In this work,both traditional music and late romantic style,as well as the use of twelve tone sequence composition techniques.