Symphony #2 and A Critical Appraisal of Helmut Lachenmann's Writings and Music
type: CreativeWork
description: The first portion of this dissertation is an original composition: Symphony No. 2. This serial work attempts to use both tempo and texture as compositionally viable parameters, along with pitch and rhythm. The piece is divided into four uninterrupted movements. The first movement establishes a pointillist texture as a reference sound for the entire work, which transforms into a rapid toccata section. The two middle movements, an aria and an intermezzo, both use traditional melody-harmony formats. The toccata texture returns at the beginning of the last movement before transforming and ending pointillistically. The second portion of this dissertation is a study of selected writings and music by the German composer Helmut Lachenmann. This paper will serve as an introduction to those who may not be familiar with this composer. After a brief biography and guide to further research materials, this paper will highlight and discuss main concepts that appear in his essays Klangtypen der Neuen Musik, Vier Grundbestimmungen des Musikhörens, and Hören is wehrlos – ohne Hören. An overview of his music, and how those concepts apply to it, will then be provided. The paper will conclude with observations determining this composer’s place and importance in twentieth century, as well as potential benefits for continued study.
abstract: The first portion of this dissertation is an original composition: Symphony No. 2. This serial work attempts to use both tempo and texture as compositionally viable parameters, along with pitch and rhythm. The piece is divided into four uninterrupted movements. The first movement establishes a pointillist texture as a reference sound for the entire work, which transforms into a rapid toccata section. The two middle movements, an aria and an intermezzo, both use traditional melody-harmony formats. The toccata texture returns at the beginning of the last movement before transforming and ending pointillistically. The second portion of this dissertation is a study of selected writings and music by the German composer Helmut Lachenmann. This paper will serve as an introduction to those who may not be familiar with this composer. After a brief biography and guide to further research materials, this paper will highlight and discuss main concepts that appear in his essays Klangtypen der Neuen Musik, Vier Grundbestimmungen des Musikhörens, and Hören is wehrlos – ohne Hören. An overview of his music, and how those concepts apply to it, will then be provided. The paper will conclude with observations determining this composer’s place and importance in twentieth century, as well as potential benefits for continued study.
author: Lipscomb, Jeffrey
keywords: 20th century music, structuralism, sound models, serial music, extended techniques, aesthetics
date published: 2010-01-01T08:00:00Z
date modified: 2026-07-24T02:59:31Z
provider: Lousiana State University
publisher: Networked Digital Library of Theses and Dissertations
type: WebPage
source organization: Music

PropertyValue
property ID: DOI
value: 10.31390/gradschool_dissertations.1419