Access the full text.
Sign up today, get DeepDyve free for 14 days.
E. Gollin (2007)
Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla BartókMusic Theory Spectrum, 29
J. Brand, C. Hailey, Donald Harris (1987)
The Berg-Schoenberg Correspondence
E. Gollin (2008)
Near-Maximally-Distributed Cycles and an Instance of Transformational Recursion in Bartók's Etude Op. 18, No. 1Music Theory Spectrum, 30
Stephen Brown (2003)
Dual Interval Space in Twentieth-Century MusicMusic Theory Spectrum, 25
Elliott Antokoletz (1995)
Organic Development and the Interval Cycles in Bartók's Three Studies, Op. 18@@@Organic Development and the Interval Cycles in Bartok's Three Studies, Op. 18, 36
Anderson (2005)
Piano Quintet by Thomas Adès: Piano Quintet in A, D667 (“The Trout”) by SchubertNotes, 62
Rick Anderson (2005)
Piano Quintet; Piano Quintet in A, D667 ("the Trout")Notes, 62
J. Lambert (1990)
Interval Cycles as Compositional Resources in the Music of Charles IvesMusic Theory Spectrum, 12
C. Fox (2004)
Tempestuous Times: The Recent Music of Thomas AdesThe Musical Times, 145
Edward Venn (2006)
‘Asylum Gained’? Aspects of Meaning in Thomas Adès's AsylaMusic Analysis, 25
Elliott Antokoletz (1984)
The Music of Béla Bartók: a Study of Tonality and Progression in Twentieth‐Century MusicStudia Musicologica Academiae Scientiarum Hungaricae
Elliott Antokoletz (1995)
Organic Development and the Interval Cycles in Bartók's Three Studies, Op. 18Music Theory Spectrum, 36
Michael Buchler (2000)
Broken and Unbroken Interval Cycles and Their Use in Determining Pitch-Class Set ResemblancePerspectives of New Music, 38
Stephen Brown (2009)
ic1/ic5 Interaction in the Music of ShostakovichMusic Analysis, 28
Stella Markou (2011)
A poetic synthesis and theoretical analysis of Thomas Ades' "Five Eliot Landscapes".
J. Roeder (2006)
Co‐operating Continuities in the Music of Thomas AdèsMusic Analysis, 25
M. Santa (1999)
Defining Modular TransformationsMusic Theory Spectrum, 21
John Clough, Nora Engebretsen, J. Kochavi (1999)
Scales, Sets, and Interval Cycles: A TaxonomyMusic Theory Spectrum, 21
George Perle (1977)
BERG'S MASTER ARRAY OF THE INTERVAL CYCLESThe Musical Quarterly
In this article I investigate aligned cycles in Thomas Adès's Piano Quintet, Op. 20. First identified by Berg in a letter to Schoenberg and later discussed by George Perle and Dave Headlam, an aligned cycle is the result of two or more interval cycles unfolding in the same direction in a note‐against‐note alignment – for example, a rising whole‐tone scale (an interval‐2 cycle) simultaneously with a rising chromatic scale (an interval‐1 cycle). I begin by exploring in more detail the theoretical properties of three‐voice aligned cycles and use concentric circles to show how these cyclic structures generate a closed, tight‐knit family of harmonies. I then reveal how Adès uses aligned cycles to provide harmonic, melodic and motivic material throughout his Quintet. These cyclic structures are combined not only with other kinds of cycles (one‐, two‐ and five‐voice, and multi‐aggregate) but also with the non‐cyclic material in the piece. Finally, I discuss how all the transformations of the different cycles function within the large‐scale formal design of the piece.
Music Analysis – Wiley
Published: Jan 1, 2014
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.