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O ctatonicism in L uigi D allapiccola's T welve ‐N ote M usic

O ctatonicism in L uigi D allapiccola's T welve ‐N ote M usic 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. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

O ctatonicism in L uigi D allapiccola's T welve ‐N ote M usic

Music Analysis , Volume 25 (1‐2) – Mar 1, 2006

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Publisher
Wiley
Copyright
Copyright © 2006 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2006.00233.x
Publisher site
See Article on Publisher Site

Abstract

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.

Journal

Music AnalysisWiley

Published: Mar 1, 2006

References