The first paper is an analysis of Debussy’s orchestration techniques in La Mer (the sea). His brilliant craft of orchestration results in the orchestra sounding like waves in the ocean, seemlessly, though cleverly constructed in the score.
This second paper is on Anton Webern’s construction of rows in op. 21 mvt 3. Using only the BACH motive (Bb-A-C-B) Webern transposes, inverts, and retrogrades the four note motive create beautiful symmetry and complexity within the piece.
Kate Paape 