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ABSTRACT Several analysts have observed in Shostakovich's later works a particular focusing of pitch resources – namely, a frequent emphasis on interval classes 1 and 5. In fact, pitch structures highlighting these interval classes occur in music from throughout his career, although no one has...
ABSTRACT In Stravinsky's final serial works, the intervallic component assumed a more decisive role than in his in earlier compositions, becoming the foundational aspect of a ‘motivic’ technique, the specific aspects of which are illustrated here through several sketch‐based analyses. In...
ABSTRACT The present study challenges prevailing interpretations of Messiaen's serial practice by arguing that it not only focused on rhythm but also was ongoing, extending far beyond the years (1949–52) in which he supposedly used and then abandoned serial techniques. Messiaen's serial practice...
ABSTRACT Like many other composers who later distanced themselves from serialism, Luciano Berio (1925–2003) embraced its principles in the 1950s and beyond. While Berio's early serial techniques from the Due pezzi of 1951 to Nones of 1954 are well known, his subsequent serial practice is still...
ABSTRACT Gérard Grisey (1946–1998) was a founder of the influential ‘spectral’ movement. Reacting against the abstractions of serialism, spectral composers derived their musical material from the physics of sound and the mechanisms of aural perception. The present study explores the tensions...
ABSTRACT Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all‐interval tetrachords, 4–Z15 (0, 1, 4, 6) and 4–Z29 (0, 1, 3, 7), is also well known. From these facets of...
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