‘Composing with Intervals’: Intervallic Syntax and Serial Technique in Late Stravinsky

‘Composing with Intervals’: Intervallic Syntax and Serial Technique in Late Stravinsky

Source :

• Music Analysis [ 0262-5245 ] ; 2009-07.

English descriptors

• Teeft :
  • Agon, Arnold newman, Atonal music, Autograph, Basic cell, Basic material, Benjamin boretz, Berg, Blackwell, Blackwell publishing, Boosey hawkes music publishers, Brass part, California press, Cambridge university press, Canticles, Canticum sacrum, Choral, Choral part, Chronological order, Common tone, Common tones, Complete hexachords, Compositional, Compositional process, Constructive order, Creative process, Dense chain, Diatonic, Different criteria, Different intervals, Different motives, Disjunct trichords, Echo response, Entire composition, Entire passage, Entire succession, Ethan haimo, Example straus, Example stravinsky, Exclamation marks, Forte chord, Foundational aspect, Fourth segments, Fundamental rows, Garden city, Global intervallic content, Hexachord, Hexachords, Igor, Igor stravinsky, Igor stravinsky collection, Igor strawinsky, Imitative texture, Important role, Initial pitches, Internal structure, Interval, Interval class, Interval classes, Intervallic, Intervallic cells, Intervallic component, Intervallic designs, Intervallic motive, Intervallic motives, Intervallic orientation, Intervallic relationships, Intervallic syntax, Inverse form, Inversion, Irae, Kathryn bailey, Late stravinsky, Limited number, Locanto, Lower system, Lyric suite, Massimiliano, Massimiliano locanto, Melodic sense, Milton babbitt, Motif, Motive class, Motivic, Motivic class, Motivic construction, Motivic elaboration, Motivicintervallic, Music analysis, Music theory, Music theory spectrum, Musical construction, Musical examples, Musical idea, Musical ideas, Musical material, Musical passage, Nebraska press, Normal form, Octatonic collections, Opposite directions, Original form, Original hexachord, Other hand, Oxford university, Particular combination, Paul johnson, Paul sacher foundation, Piano episode, Pitch, Pitch classes, Pitch content, Possible arrangements, Princeton university press, Requiem, Requiem canticles, Retrograde, Retrograde form, Retrograde inversion, Robert craft, Roman numerals, Rotatedtransposed forms, Rotational, Rotational array, Rotational arrays, Sacher, Same class, Same direction, Same pitch, Same succession, Same time, Schoenberg, Schoenbergian concept, Second episode, Second line, Second notes, Second pitch, Second segment, Second statement, Second version, Segment, Segments forms, Semitone, Serial, Serial composition, Serial compositions, Serial construction, Serial hexachord, Serial music, Serial origin, Serial procedures, Serial segments, Serial symbols, Serial tables, Serial technique, Short score, Single intervals, Sketch, Sole exception, Solo episode, Solo episodes, Square brackets, Straus, Stravinsky, Stravinsky retrospectives, String quartet, Subset, Subset structure, Symmetrical structure, Tetrachord, Third episode, Third line, Third movement, Third note, Third segment, Third type, Tonal music, Toorn, Traditional tonality, Treble clef, Trichords, Unordered, Unordered intervals, Unordered sets, Upper system, Various forms, Various segments, Vertical results, Webern, Webern studies, Whole tone, Yale university press.

Abstract

• https://api.istex.fr/document/5660D44B257B98DA0D751B18B7591C0DEB22E6B1/fulltext/pdf

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