錢內克是第二維也納樂派以外極早投入十二音列創作的作曲家。他的合唱曲《先知耶肋米亞哀歌》譜寫於1941到1942年間，當時他為了躲避納粹的迫害而流亡美國。在異鄉飽受焦慮與思鄉之苦的錢內克，在絕望而孤獨的情緒下，提筆創作了合唱曲《先知耶肋米亞哀歌》。先知耶肋米亞的哀嘆恰恰呼應了錢內克當時的心境。本篇論文主要探討這部作品的創作手法，重點特別聚焦於十二音列與卡農手法的研究。論文分成兩大部分。第一部分，藉由作曲家的生平與創作背景，說明他選擇這個聖經題材來譜曲的原因，並以此設定音樂分析的主要框架。第二部分，就這個框架深入總譜上的音樂實例，進行作曲手法的分析與綜合比較。本論文嘗試透過音樂分析進一步探討：錢內克如何運用中世紀的音樂素材，在十二音列技法上進行實驗，並以此打造出自己獨樹一格的音樂語言。

Ernst Křenek has been one of the first composers to employ the twelve-tone technique, although he had not been associated with the Second Vienna School. Due to the persecution of avant-garde artists by the National Socialists, he went into exile and arrived in the United States in 1938. In the early 1940s, in a situation of deep homesickness, self-doubt, depression and isolation, Křenek wrote the composition Lamentatio Jeremiae Prophetae (1941-1942) for chorus a cappella. The lament of the prophet Jeremiah obviously corresponded to Křenek’s sentiments at the time. This article investigates the work’s compositional structure with particular attention to his twelve-tone technique and his method of canon composition. The first part explores Křenek’s selection of biblical texts in relation to his personal experience, thus creating the analytical framework for this study; the second part focuses on the analysis of compositional techniques with examples from the musical score. The author investigates the ways in which Křenek combined elements from Medieval and Renaissance music with the structural constraints of dodecaphonic composition to create a unique musical language which enlarged the possibilities of twelve-tone composition.