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Stravinsky's “Construction of Twelve Verticals”: An Aspect of Harmony in the Serial Music

Stravinsky's “Construction of Twelve Verticals”: An Aspect of Harmony in the Serial Music Stravinsky's serial music, from the Cantata (1952) to Requiem Canticles (1966), is generally contrapuntal in texture, but solemn chorales also occur with some frequency. These are normally traceable either to Stravinsky's familiar rotational arrays or to the “constructions of twelve verticals” that are the subject of this paper: a layering of four series forms from which twelve four-note chords are created as vertical slices. These four-part arrays have interesting properties, including a propensity to produce whole-tone harmonies, and Stravinsky deploys them in structurally and rhetorically significant ways. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Theory Spectrum Oxford University Press

Stravinsky's “Construction of Twelve Verticals”: An Aspect of Harmony in the Serial Music

Music Theory Spectrum , Volume 21 (1) – Jan 1, 1999

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References (10)

Publisher
Oxford University Press
Copyright
© Published by Oxford University Press.
ISSN
0195-6167
eISSN
1533-8339
DOI
10.2307/745920
Publisher site
See Article on Publisher Site

Abstract

Stravinsky's serial music, from the Cantata (1952) to Requiem Canticles (1966), is generally contrapuntal in texture, but solemn chorales also occur with some frequency. These are normally traceable either to Stravinsky's familiar rotational arrays or to the “constructions of twelve verticals” that are the subject of this paper: a layering of four series forms from which twelve four-note chords are created as vertical slices. These four-part arrays have interesting properties, including a propensity to produce whole-tone harmonies, and Stravinsky deploys them in structurally and rhetorically significant ways.

Journal

Music Theory SpectrumOxford University Press

Published: Jan 1, 1999

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