@incollection{Ahrend_2015a,
 abstract = {The distinction and possible tensions between the written score and a performance of a work is a medial characteristic of so called western art music. Furthermore »music« can be written down with regard to several functions, e.g. to sketch a compositional idea or to serve as a performance score. But different kinds of (written) musical sources do not always function in a categorized way that would allow a clear distinction for instance between »draft« and »elaboration«, but are often interrelated in a much more complex manner that hints among other things at the processual character of composition. In a first part of this paper the various surviving sources to Webern’s String Quartet (1905) are described in this respect. In a second part an analysis of a certain compositional detail (concerning the conception of the quartet as a sonata form) is proposed that refers to some observations in the sketches and the »Form-Entwurf«.},
 author = {Ahrend, Thomas},
 title = {{„Entwurf oder Ausarbeitung? Die Quellen zu Anton Weberns \textit{Streichquartett (1905)}“}},
 pages = {316–332},
 publisher = {Laaber},
 series = {Musiktheorie},
 editor = {Ahrend, Thomas and Schmidt, Matthias},
 booktitle = {{Anton Webern und Giovanni Segantini}},
 year = {2015},
 address = {Laaber},
 volume = {30/4}
}

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