Twelve-Tone Tonality, Second EditionUniversity 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. |
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 |
The 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 |
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 Reinterpretation | 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 | |
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Términos y frases comunes
adjacency sums array Table atonal axis dyads axis notes axis-dyad chords axis-dyad scale axis-dyad sum axis-interval axis-sum bars Berg Berg's cell classes column components composition converts cresc cyclic interval cyclic set derived set Diff difference scales difference-scale dyadic array dyadic sums dyads of sum example 20 following alignment Galaxy Music Corporation George Perle hexachordal integer intersect interval cycles interval numbers interval system interval-1 interval-system inversionally equivalent inversionally related Master Array Master Mode modulation neighbor-note dyads Opus original array parent array partitions perfect fifth Perle pitch-class number pivotal Pop7 precompositional primary sum couple produce represented respective Schoenberg's secondary sums semitonal scale share shift subtraction Sum 9 sum table sum tetrachords sum-scales symmetrically equivalent symmetrically related tetrachordal segments tetrachordal sums thematic idea tonic chord tonic cyclic chords tonic sums transposed transpositionally triadic array triadic set tritone tritone transposition Twelve-Tone Tonality unfold whole-tone Wozzeck