Abstract
This essay investigates ways in which symmetry, especially inversional symmetry interpreted in pitch space, functions as a norm in Schoenberg’s twelve-tone music, even in cases where such symmetry may not be literally instantiated. A review of Schoenberg’s statements on the subject suggests that he understood such symmetries as serving particular musical functions. An analysis of his 1933 setting of Jakob Haringer’s “Tot,” the second of the Four Songs, op. 48, is offered as a case study of certain of the issues involved.
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