202 ARCHIVAL EXHIBIT 203

Archival Exhibit:
Schoenberg's Dodecaphonic Devices

SUSAN L. SLOAN

J do not compose principles, but music.

nyone acquainted with Arnold Schoenberg' s music

knows that many of his warks were composed using the "Method of Com-
posing with Twelve Tones Which are Related Only with One Another."
This compositional method, as weH as the end results, the works them-
selves, have been extensively analyzed. But how did Schoenberg hirnself 1
actually use this method to compose his twelve-tone works? How did he Chromatic scale devices and charts.
form, keep track and manipulate his twelve-tone rows? How did the
method evolve and change during his lifetime? How did Schoenberg regard
his new compositional method?
The archiv al exhibit currently on display in the Performance Hall of the
Arnold Schoenberg Institute attempts not only to provide answers to these
and other questions, but also to encourage new thinking about Schoen-
berg's twelve-tone writing. The exhibit brings together far the first time
over of Schoenberg's handmade twelve-tone devices-charts,
ders, slide and other three-dimensional and often
manipulatabie artifacts, most of which have never befare been
to the public. These devices represent at least in part the
process in eighteen of his works. Explanations and descriptions are pro-
vided in the form of detailed captions and an exhibit brochure, both of
which also include computer-produced musical examples, and selected de-
vi ces are accompanied by corresponding music manuscript examples.
The most basic element of Schoenberg's "Method" is, of course, the
twelve-tone row. Far Schoenberg, a common first step in the formulation
of a twelve-tone row was to write out chromatic scales at different
levels on devices and charts in either parallel (see Example 1) or contrary
motion. He then formulated a "basic-set," as he called it, from the twelve
pitches of the chromatic scale, using any octave transposition or enhar-
monic spelling. In addition to the basic set, three other principal row forms Example 2
are derived from the basic set: the row may be inverted Device constructed jor the composition oj Schoenberg's Piano Concerto, op. 42.
versed (retrograde), and reversed and inverted (retrograde R. Wayne
204 S USA N L. S L 0 A N RCHIVAL EXHIBIT 205

Moreover, any row form may be transposed to any pitch level. From this 3
wealth of possibilities, the following statistics may be derived: Device the Schoenberg's Wind op.26.
Photograph by R. Wayne Shoa..f.
-479,001 ,600 twelve-tone row combinations are possible using the twelve
pitches of the chromatic scale. This includes all transpositions,
retrogrades, and retrograde inversions.
-9,979,200 unique rows are possible, rows unrelated to any others
transposition, inversion, retrograde, and retrograde inversion.
-126 unique twelve-tone rows used by Schoenberg have been identified
to date. This includes a row, newly discovered during the preparation of
this exhibit, in addition to the 125 rows previously identified lan Mae-
gaard t and Ethan Hairno. 2
Perhaps the most interesting statistical fact is that there are twenty-two
different types of devices on display, most of which were created far more
than one composition. For example, the device type described as '
Attached, Booklet-Type Row Charts of Combined Row Forms" was used
for six different compositions, including the Phantasy, op. 47, Moses und
Aron, the Violin Concerto, op. 36, Moderne Psalmen, op. 50C, A Sur-
vivor jrom op. 46, and Israel Exists Again. By the same
several different types of devices were sometimes created for a single co m-
position. In this case, l'vloses und Aron boasts the largest number of types the exhibit, including the following from ~ Evo-
(five), followed by the Violin Concerto, op. 36 (four). Example 2, de-
scribed as "Twelve Cards of Graduated Sizes Lying Flat in a " was
constructed for the composition of the Piano Concerto, op. 42. Each card In the last few years I have been questioned as to whether certain of my co m-
contains a pair of basic and inverted row forms, and each was fitted with positions are "pure" twelve-tone, or twelve-tone at all. The fact is that I do not
know. I am still more a composer than a theorist. When I compose, try to
a tab indicating the row designations. Example 3, described as a "Circular
forget all theories and I continue composing only after having freed my mind
Device" and constructed for the composition of the Wind Quintet, op. 26, of them.
is one of the few non-chart-like examples in the exhibit. The device con-
sists of two moveable concentric circles that rest upon a cardboard base. Schoenberg's Dodecaphonic Devices will be featured as one of the
By changing the position of the innermost cirde and then notating the of the international meeting of the to be held
pitches that correspond to the numbers affixed to the larger circle in Los Angeles in 1990. The exhibit will remain on display
through twelve), Schoenberg was easily able to transpose the basic set for lune 1990. The Schoenberg Institute is in the process of attempting to se-
op. 26. A number of examples induded in the exhibit are not identifiable eure funds with which to produce a color catalog of this unique exhibit. !Il
with any composition. Among this group is a curious pair of red dice on
which Schoenberg wrote German pitch names, one on each of the tweive
sides of the dice. But was the purpose of these dice compositional, or were
they merely agame for his children? Notes
An important aim of this exhibit is to emphasize the creative rather than
the mechanical process in Schoenberg's twelve-tone writing. For this rea- 1. Jan Maegaard, "Schänbergs Zwälftonreihen," Die Musikforschung 29 (1976), 385-425.
son, numerous manuscript examples have been provided to document the 2. Ethan Haimo, "Schoenberg's Unknown Twelve-Tone Fragments," Journal of the Arnold
final producL In addition, Schoenberg's own words have been Schoenberg Institute XI/l (June 1988). 52-69.