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Brian Alegant (2010)
The Twelve‐Tone Music of Luigi Dallapiccola
Rosemary Brown (1977)
Continuity and Recurrence in the Creative Development of Luigi Dallapiccola
Luigi Dallapiccola (1950)
On the Twelve‐Note Road, 4
Michael Eckert (2007)
Visions and Revisions: Dallapiccola's Concerto per la notte di Natale dell'anno 1956, 36/ii
Ben Earle (2013)
Luigi Dallapiccola and Musical Modernism in Fascist Italy
Brian Alegant, A. Mead (2012)
Having the Last Word: Schoenberg and the Ultimate CadenzaMusic Theory Spectrum, 34
Raymond Fearn (2003)
The Music of Luigi Dallapiccola
G. Gould (1965)
A stylistic analysis of selected twelve-tone works by Luigi Dallapiccola
H. Nathan (1977)
On Dallapiccola's Working MethodsPerspectives of New Music, 15
Simone Ciolfi (2004)
Luigi Dallapiccola tra prima e seconda versione, 38/ii
Luigi Dallapiccola (1970)
Appunti, incontri, meditazioni
Joseph Straus (1999)
Stravinsky's “Construction of Twelve Verticals”: An Aspect of Harmony in the Serial MusicMusic Theory Spectrum, 21
Dallapiccola revised his Concerto per la notte di Natale dell'anno 1956, a five‐movement work for soprano and sixteen instruments, shortly after completing it. He made small changes to the first, second and fourth movements, bigger changes in the middle movement and extensive changes in the last movement (Epilogue). Building on the work of previous scholars, I re‐examine the two versions of this Epilogue, paying particular attention to row handling, rhythm and texture on the small scale, and the pervasive use of symmetry on the large scale. The analysis paints a fuller picture of the Concerto and provides insight into Dallapiccola's idiosyncratic harmonic praxis and his fondness for palindromic frames.
Music Analysis – Wiley
Published: Jul 1, 2016
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