Twelve-Tone Tonality, Second Edition

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University of California Press, 23 jul. 1996 - 256 páginas
The challenge, in twentieth-century music, to the normative status of triadic tonality is one of the most far-reaching and extreme revolutions that the history of music has known. In his classic work, Twelve-Tone Tonality, George Perle argues that the seemingly disparate styles of post-triadic music in fact share common structural elements. According to Perle, these elements collectively imply a new tonality as "natural" and coherent as the major-minor tonality that was the basis of a common musical language in the past. His book describes the foundational assumptions of this post-diatonic tonality and illustrates its compositional functions with numerous musical examples. The second edition of Twelve-Tone Tonality is enlarged by eleven new chapters. Some of these are "postscripts" to earlier chapters, clarifying, elucidating, and expanding upon concepts discussed in the original edition. Others discuss new developments in the theory and practice of twelve-tone tonality, including voice-leading implications of the system and dissonance treatment. Errors discovered in the original edition have been corrected. - Jacket flap.
 

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Índice

EXPOSITION 1 Introduction
3
Inversionally Complementary Cycles
7
Symmetrical Chords and Progressions
12
Dyadic Sums and Differences
18
The Cyclic Set of Interval 7
20
Cognate Sets
22
Verticalization in TwelveTone Music
25
Cyclic Chords and AxisNote Dyads
27
Composing with Sum Tetrachords
111
Modulation Through Tonic Chords
120
Imitative Counterpoint
128
LargeScale Progression
132
77i Three Tonalities
138
Triadic Arrays
146
Conclusion
157
DEVELOPMENTS AND RECAPITULATIONS 31 Symmetrical Progressions Through NonSymmetrical Chords A Postscript to Chapter 3
171

Difference Tables
31
Composing with TwelveTone Modes
33
The Odd and Even Modes
45
Sum Tables
47
Tonic and Resultant Set Forms
49
Sum Tetrachords
53
The Cyclic Set of Interval 1
57
Larger Implications of Tonic Set Forms
61
The Interval1 and Interval7 Sets Combined
67
Derived Sets
71
g The Remaining Cyclic Sets
75
Alban Bergs Master Array of the Interval Cycles
80
Sum and Difference Scales
84
The Master Modes
86
The Master Keys
99
VoiceLeading Implications of Sum Tetrachords
177
Aggregate Sums and the Three Tonalities
183
A Postscript to Chapters 22 and 23
192
A Postscript to Chapter 25
198
Modulation Through Reinterprelation
206
A Postscript to Chapter 26
224
Consonant and Dissonant Figuration
229
Background and Foreground Sums and Cycles
235
The Unanswered Questions
241
Tonality
248
Dyadic Cyclic Sets 253
Index to Names and Compositions 255
Index to Basic Definitions 256
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Sobre el autor (1996)

George Perle is a distinguished composer and Professor Emeritus of Music at the City University of New York. His books include Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern (Sixth Edition, California, 1991); The Operas of Alban Berg, Volume 1, Wozzeck (California, 1980) and Volume 2, Lulu (California, 1985); and The Listening Composer (California, 1990). He has been a recipient of the Pulitzer Prize and a MacArthur Foundation Fellowship.

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