This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. It does so in a simple, clear, and systematic manner to promote an easily accessible and global understanding of this music. Since the chromatic scale is the primary source for the pitch materials of 20th-century music, common sub-collections of the various modes and interval cycles serve as the basis for their mutual transformation. It is precisely this peculiarity of the non-serialized twelve-tone system that allows for an array of pitch relations and modal techniques hitherto perceived difficult if not impossible to analyze. Susanni and Antokoletz present the principles, concepts, and materials employed for analysis using a unique theoretic-analytical approach to the new musical language. The book contains a large number of original analyses that explore a host of composers including Ives, Stravinsky, Bartók, Messiaen, Cage, Debussy, Copland, and many more, providing insight into the music of the tonal revolution of the twentieth century and contributing an important perspective to how music works in general.
Introduction 1 . General Concepts 2. Interval Cycles 3. Compound Cyclic Collections 4. Inversional Symmetry and the Axis Concept 5. Modes 6. Modal/Cyclic Relationships 7. Cells
This series is our home for cutting-edge, upper-level scholarly studies and edited collections on a wide range of topics in music theory, including analysis, tonality, rhythm, discourse, aesthetics, and composition. Titles are characterized by dynamic interventions into established subjects and innovative studies covering many disciplines, such as history, performance, cognition, gesture, critical theory, math, and popular music.