Row partitioning and tetrachordal transformation in Ernst Krenek’s Nocturne, Op. 110, No. 5

Ernst Krenek is widely regarded as one of the most important composers of the twentieth century. This study examines Krenek’s work titled Eight Piano Pieces, Op. 110, No. 5, “Nocturne”, analysing its structural, aesthetic and technical characteristics in terms of both its relationship to the traditional nocturne genre and the innovations it presents within the context of the composer’s modernist and serialist approaches. During the analysis process, content analysis was employed alongside the multimodal data analysis approach proposed by Bauer and Gaskell. Furthermore, the prime sequence was redefined based on Morris’s (MOF) “Multiple Order Function” theory. The findings reveal that, whilst the work bears similarities to a two-part song form, it employs the twelve-tone technique flexibly and distinguishes itself from traditional serial approaches by utilising four-note pitch groups (tetrachords), canon and counterpoint techniques. Despite the absence of a tonal centre, the melodic structure offers a consistent and inward-looking lyrical narrative. Consequently, Krenek’s Nocturne reveals the development of an expressive musical language that transcends serialism’s tendency towards rigid systematisation. This work presents a unique musical language by bringing together technical and aesthetic approaches. This language interprets serialism not as a break with tradition, but as a transformative process.