Despite Nono's and Carter's opposing views, divergent compositional aesthetic, and applicability of twelve-tone music, the two composers shared their admiration for the works of the Second Viennese School. In this article, I examine Carter's 1957 and Nono's 1956 analyses of Schoenberg's pivotal twelve-tone work:Variations for Orchestra, Op. 31 (1926–28). The study offers a rare opportunity to look at the same piece analysed by two composers with unique points of view. Completed only a year apart, the analyses illuminate aspects of Schoenberg's work that each composer found most compelling and applicable to their own works. Thus, these analyses, combined with sketches housed at the Paul Sacher Stiftung (Basel), the Library of Congress (Washington, DC), and the Fondazione Archivio Luigi Nono (Venice), not only shed light on Schoenberg's system, but also become a valuable tool for tracking both Carter's and Nono's compositional processes, showing how Schoenberg influenced two schools of thought.

中文翻译：

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艾略特·卡特和路易吉·诺诺对勋伯格管弦乐变奏曲的分析，作品。31：对序列主义的不同方法

尽管诺诺和卡特的观点相反，作曲审美不同，以及十二音音乐的适用性，两位作曲家都对第二维也纳学派的作品表示钦佩。在这篇文章中，我研究了卡特 1957 年和诺诺 1956 年对勋伯格的关键十二音作品的分析：管弦乐变奏曲，作品。31（1926-28）。这项研究提供了一个难得的机会，可以查看两位具有独特观点的作曲家分析的同一首曲子。这些分析仅相隔一年完成，阐明了勋伯格作品的各个方面，每位作曲家都认为这些方面最引人注目并适用于自己的作品。因此，这些分析与收藏在 Paul Sacher Stiftung（巴塞尔）、国会图书馆（华盛顿特区）和 Fondazione Archivio Luigi Nono（威尼斯）的草图相结合，不仅阐明了勋伯格的体系，而且成为跟踪卡特和诺诺的作曲过程的宝贵工具，展示了勋伯格如何影响两个思想流派。