By Paolo Susanni
This publication explores the internet of pitch family that generates the musical language of non-serialized 12-tone music and offers either the analytical fabrics and strategies precious for analyses of an unlimited share of the 20th century musical repertoire. It does so in an easy, transparent, and systematic demeanour to advertise an simply available and worldwide realizing of this tune. because the chromatic scale is the first resource for the pitch fabrics of 20th-century song, universal sub-collections of many of the modes and period cycles function the root for his or her mutual transformation. it truly is accurately this peculiarity of the non-serialized 12-tone system that permits for an array of pitch kinfolk and modal innovations hitherto perceived tricky if now not most unlikely to research. Susanni and Antokoletz current the rules, strategies, and fabrics hired for research utilizing a distinct theoretic-analytical method of the recent musical language. The booklet encompasses a huge variety of unique analyses that discover a number of composers together with Ives, Stravinsky, Bartók, Messiaen, Cage, Debussy, Copland, and plenty of extra, delivering perception into the tune of the tonal revolution of the 20 th century and contributing an incredible viewpoint to how song works in general.
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Additional info for Music and Twentieth-Century Tonality: Harmonic Progression Based on Modality and the Interval Cycles
Ordering of tonal areas according to cyclical patterns foreshadows a commonplace 20th century technique. While the use of tonally ambiguous fully diminished seventh chords is common throughout the tonal era, the use of other cyclic chordal constructions such as the augmented triad or interval-4/8 cycle only came into vogue during the Late Romantic period. Composers such as Liszt started to make extensive use of this cyclic construction because of its unique color and its tonally ambiguous symmetrical properties.
18 (1920). ”13 It is registrally subdivided into two semitone interval couples [F–Gb/G–Ab]. Any symmetrical tetrachord can be partitioned into three discrete interval couples14 —here, two semitones [F–Gb/G–Ab], two whole tones [F–G/Gb–Ab], and an axial interval couple of semitone and minor third [Gb–G/F–Ab]. At the beginning of the Study (mm. 1–2), the cell is partitioned according to its registral and linear orderings. 15 After a brief occurrence of one of its transpositions [Db–D–Eb–E], also based on the same partitioning as the original cell, a new transposition of the same tetrachord The Interval Cycles 31 [C–Db–D–Eb] yields a new interpretation of the component interval couples.
18, the pitch content of the contrary motion arpeggios which are placed metrically between the melodic octaves [F–C#–A–E and Eb–Bb–Gb–D] is neither tertian nor cyclic. 16 Each pair of opposing notes is equidistant from an axis of symmetry, as represented, in this case by an Eb/E dyad. E A C# F E Eb axis of symmetry D Gb Bb Eb During the course of the Étude, different sets of pitches are symmetrically arranged around shifting axes of symmetry. General Concepts 15 FORMAL STRUCTURES Phrasal and periodic structures in traditional tonal music can be broadly deﬁ ned by two principles: the ﬁ rst is the presentation and repetition of speciﬁc thematic material, the second, and just as signiﬁcant, is based on the different kinds of cadences that are used to demarcate important junctures of these formal structures.