EXAMPLE TESTING


Example 1. Monophonic, homophonic, and polyphonic block topographies illustrating generic sample topographical arrangements of each type

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Example 2. Webern, op. 9, no. 4, first thirteen tones

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Example 3. Webern, op. 9, no. 4, Violin II, mm. 1–3

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Example 4. Webern, op. 9, no. 4, Blocks 1 and 2 texturally stratified in polyphonic block topography

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Example 5. Webern, op. 9, no. 4, block topography analysis

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Example 6. Webern, op. 9, no. 4, Blocks 3–4 in homophonic block topography

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Example 7. Webern, op. 9, no. 4, Blocks 5–6 in homophonic block topography

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Example 8. Webern, op. 9, no. 4, timbral progression analysis

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Example 9. Webern, op. 9, no. 4, Block 7, coda combining pizzicato staccato and pizzicato tenuto

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Example 10. Webern, op. 9, no. 4, Block 7, coda as an expanding wedge

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Example 11. Symmetrical and asymmetrical wedges

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Example 12. Transversal wedge pairings

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Example 13. Webern, op. 9, no. 5, timbral progression analysis

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Example 14. Webern, op. 9, no. 5, block topography analysis

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Example 15. Webern, op. 9, no. 5, Block 1, timbral stratification with arco encapsulated within am Steg

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Example 16. Webern, op. 9, no. 5, Block 2 with vertex tone, pizzicato D♮4 in Violin I, and timbral stratification

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Example 17. Webern, op. 9, no. 5, Block 3 highlighting arco C♮5

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Example 18. Webern, op. 9, no. 5, Block 4 with arco timbres registrally encapsulating am Steg and post-phrase silence

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Example 19. Webern, op. 9, no. 5, am Steg A line

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Example 20. Webern, op. 9, no. 5, Blocks 5–6, varied repeat of Blocks 1–4

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Example 21. Webern, op. 9, no. 5, Bn3 pizzicato line

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Example 22. Webern, op. 9, no. 5, Block 7, final expansion of the timbral lines

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Example 23. Webern, op. 10, no. 1, symmetrical form

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Example 24. Webern, op. 10, no. 1, block topography analysis

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Example 25. Webern, op. 10, no. 1, Block 1, the introduction, part of the main timbral line

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Example 26. Webern, op. 10, no. 1, Block 2, the body, part of the main timbral line

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Example 27. Webern, op. 10, no. 1, Block 6, the coda, part of the main timbral line

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Example 28. Distribution of nonachords in Blocks 2–5 of Webern’s op. 10, no. 1

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Example 29. Webern, op. 10, no. 4, block topography analysis

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Example 30. Webern, op. 10, no. 4, retrograde timbral symmetry (inexact)

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Example 31. Webern, op. 10, no. 4, crossing registers of textural layers

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Example 32. Distribution of nonachords in Webern’s op. 10, no. 4

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