Octatonicism in Luigi Dallapiccola's Twelve‐Note Music
Identifieur interne : 000465 ( Main/Exploration ); précédent : 000464; suivant : 000466Octatonicism in Luigi Dallapiccola's Twelve‐Note Music
Auteurs : Brian Alegant ; John LeveySource :
- Music Analysis [ 0262-5245 ] ; 2006-03.
English descriptors
- Teeft :
- Antonio machado, Articulation, Blackwell, Blackwell publishing, Canti, Carmina alcaei, Central movement, Chromatic lines, Cinque, Cinque canti, Commiato, Complete octatonic collection, Complete octatonic collections, Dallapiccola, Discrete hexachords, Disjunct, Disjunct hexachords, Dyad, Dyadic partitions, Eckert, Formal diagram, Harmonic, Hexachord, Hexachordal, Hexachords, High tessitura, Intermezzo, Interval class, Journal compilation, Limited transposition, Liriche, Luigi, Luigi dallapiccola, Machado, Machado song, Mathilde, Music analysis, Music theory, Music theory spectrum, Octatonic, Octatonic collection, Octatonic collections, Octatonic elements, Octatonic hexachords, Octatonic passages, Octatonic subsets, Octatonicism, Order numbers, Pitch class, Pitch classes, Ploratus, Present study, Prigioniero, Quattro, Quattro liriche, Realisation, Same time, Second hexachord, Second movement, Sonority, Subset, Tempus, Tempus destruendi tempus, Tetrachords, Third movement, Transposition, Trichordal, Trichords, Tritone, Unordered, Upper voice, Voice exchange.
Abstract
This survey addresses perhaps the least‐known aspect of Luigi Dallapiccola's twelve‐note music, namely the composer's preference for octatonic collections. Part I summarises the different arrangements of octatonic hexachords that are possible within a twelve‐note context. Parts II–IV then examine some of the octatonic characteristics which recur across a number of specific works, several of which have not previously been the subject of critical attention. Octatonicism is thereby revealed as a consistent feature of Dallapiccola's harmonic language that runs throughout his twelve‐note canon.
Url:
DOI: 10.1111/j.1468-2249.2006.00233.x
Affiliations:
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Le document en format XML
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<front><div type="abstract" xml:lang="en">This survey addresses perhaps the least‐known aspect of Luigi Dallapiccola's twelve‐note music, namely the composer's preference for octatonic collections. Part I summarises the different arrangements of octatonic hexachords that are possible within a twelve‐note context. Parts II–IV then examine some of the octatonic characteristics which recur across a number of specific works, several of which have not previously been the subject of critical attention. Octatonicism is thereby revealed as a consistent feature of Dallapiccola's harmonic language that runs throughout his twelve‐note canon.</div>
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