(photo / copyright: M. Zazeela)
"I feel that it is most peculiar to the Western hemisphere since the thirteenth century, that climax and directionality have been among the most important guiding factors, whereas music before that time, from the chants through organum and Machaut, used stasis as a point of structure a little more the way certain Eastern musical systems have.
In Webern, however, stasis was very important, because not only was he involved with row technique but he also developed a technique for the repetition of pitches at the same octave placements throughout a section of movement. That is, each time C, A, or E comes back in the section of movement through, you find this static concept of a small number of large chords reappearing throughout the entire movement.
The "continually different ways" are so precisely related to the "original" form of the row that any one of the permutations is simply an aspect of the basic shape of the row which includes all of the permutation. Schönberg based row technique on the belief that these "continually different ways" were related in such a way that they could be the unifiying structure of composition."
- LaMonte Young (1968)