Cross-partitions As Harmony and Voice Leading in Twelve-tone Music

Title:
Cross-partitions As Harmony and Voice Leading in Twelve-tone Music
Authors:
Alegant, Brian
Abstract:
This study explores the analytical implications of cross-partitions, or two-dimensional harmony and voice leading formations, and examines the roles they play in three "classical" twelve-tone compositions. Part I lays the theoretical groundwork for a partitional approach and focuses on a variation in the third movement of Webern's Concerto, op. 24. Part II offers a construct called the trichordal complex and uses this construct to analyze selected passages in Schoenberg's Piano Concerto. Part III traces the development of cross-partitions in the fourth of Dallapiccola's frammenti di Saffo. The article advances new tools for modeling twelve-tone music; suggests new ways of hearing and conceptualizing these works; and shows that it is both possible and profitable to talk about harmony and voice leading in serial music.
Citation:
Alegant, Brian. 2001. "Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music." Music Theory Spectrum 23(1): 1-40.
Publisher:
University of California Press on behalf of the Society for Music
DATE ISSUED:
2001
Department:
Music Theory
Type:
article
PUBLISHED VERSION:
10.1525/mts.2001.23.1.1
PERMANENT LINK:
http://hdl.handle.net/11282/309723

Full metadata record

DC FieldValue Language
dc.contributor.authorAlegant, Brianen_US
dc.date.accessioned2013-12-23T16:16:21Zen
dc.date.available2013-12-23T16:16:21Zen
dc.date.issued2001en
dc.identifier.citationAlegant, Brian. 2001. "Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music." Music Theory Spectrum 23(1): 1-40.en_US
dc.identifier.issn0195-6167en_US
dc.identifier.urihttp://hdl.handle.net/11282/309723en
dc.description.abstractThis study explores the analytical implications of cross-partitions, or two-dimensional harmony and voice leading formations, and examines the roles they play in three "classical" twelve-tone compositions. Part I lays the theoretical groundwork for a partitional approach and focuses on a variation in the third movement of Webern's Concerto, op. 24. Part II offers a construct called the trichordal complex and uses this construct to analyze selected passages in Schoenberg's Piano Concerto. Part III traces the development of cross-partitions in the fourth of Dallapiccola's frammenti di Saffo. The article advances new tools for modeling twelve-tone music; suggests new ways of hearing and conceptualizing these works; and shows that it is both possible and profitable to talk about harmony and voice leading in serial music.en_US
dc.language.isoen_USen_US
dc.publisherUniversity of California Press on behalf of the Society for Musicen_US
dc.identifier.doi10.1525/mts.2001.23.1.1en
dc.subject.departmentMusic Theoryen_US
dc.titleCross-partitions As Harmony and Voice Leading in Twelve-tone Musicen_US
dc.typearticleen_US
dc.identifier.journalMusic Theory Spectrumen_US
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