On Symmetry Thinking Of Webern’s Concerto, Op.24

Preference for symmetry techniques is a prominent feature of Webern’s music language, it is deeply reflected in his "Concerto for nine instruments" (Op.24). This work has therefore been described as "represents an extreme in its concern with microscopic details in his exploration of symmetrical possibilities". Taking advantage of this opportunity, first of this thesis, I analyzed the embodiment of the symmetry thinking in the aspect of music ontology, and then, based on the existing research data to explore the source of symmetry thinking in the aspect of music connotation, in order to comprehensively show the value of works and the charm of Webern’s thought and music language.This thesis includes four chapters. In first chapter, I summarized the creative process and artistic features of "Concerto". In the second and third chapter, I analyzed the symmetry thinking of its twelve tone row, first movement and the third movement in the technical aspect, which also explored the symmetry structure of the tone row mathematically. In fourth chapter, I explored the source of Webern’s symmetry thinking from the cultural perspective. In my opinion, his symmetry thinking comes from the interaction of many factors. The research upsurge of symmetrical structure in various scientific disciplines, and the profound influence of Swedenborg’s correspondence concept and Goethe’s plant metamorphosis theory, led to his "unity" theory in music creation, which is the most direct source of his symmetry thinking.