Part II

A full analytic study of Verblendungen in its entirety is beyond the scope of this present study. Instead, a detailed study is made of the opening five minutes of the piece, which includes the whole of the onset portion of the work, as previously mentioned. This is begun through the identification of the basic sound materials within this section. The nature of this material and the processes of change which it undergoes are then described and, through segmentation, connections between small and large-scale form made. Rhythmic and pitch organisation are then examined, followed finally, by an examination of the role of spatialisation within Verblendungen.
Two further sections of Verblendungen, the central tape solo and the final few minutes of the piece, are then considered, in more general terms, for the particular analytical problems which they present and also in order to try to present a fuller view of the work.