Abstract
This article proposes a quantitative perspective on traditional serial analysis, offering Webern’s Variations for Orchestra, Op. 30 as a case study. The article is in three parts and begins with a discussion of the work’s nexus point, followed by a discussion of the three strategies found in the closing moments of Op. 30 that articulate two competing large-scale forms. The final section focuses on the specific properties of the Op. 30 row class that enable these strategies and establish their relative rarity. The statistics generated by these enumerations convey the possibilities inherent in specific collections of row classes, thereby pointing beyond the particularities of Op. 30 while informing my formal interpretation of the work.
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