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Understanding Post-Tonal Music

Understanding Post-Tonal Music

1st Edition
By Miguel Roig-Francoli
Copyright: 2008
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ISBN10: 007293624X | ISBN13: 9780072936247


The estimated amount of time this product will be on the market is based on a number of factors, including faculty input to instructional design and the prior revision cycle and updates to academic research-which typically results in a revision cycle ranging from every two to four years for this product. Pricing subject to change at any time.

Program Details

About the Author

Introduction: An Overview of Twentieth-Century Compositional Styles

The Century of Plurality: Tonal, Post-tonal, Atonal, and Other Styles

The Stylistic Mosaic

Chapter 1. Pitch Centricity and Composition with Motivic Cells

Diatonic Collections

Pentatonic Collections

Analysis 1.1. Debussy, "La cathedrale engloutie," from Preludes, Book I (Anthology, No. 1)

Analysis 1.2. Stravinsky, Introduction to Part I, from The Rite of Spring (Anthology, No. 4)

Chapter 2. Pitch Centricity and Symmetry

Interval Cycles and Equal Divisions of the Octave

Symmetrical Motivic Cells

Symmetry Around an Axis

Symmetrical Scales

Analysis 2.1. Bartok, "Song of the Harvest," from Forty-four Violin Duets (Anthology, No. 5)

Analysis 2.2. Bartok, "Whole-tone Scale," from Mikrokosmos, Vol. 5 (Anthology, No. 6)

Chapter 3. Introduction to Pitch-Class-Set Theory

Preliminary Concepts

Pitch-Class Sets: Orderings and Basic Relationships

Pitch-Class Sets: Further Properties and Relationships

Chapter 4. Analyzing Atonal Music

Analyzing Atonal Music

Analysis 4.1. Webern, "Five Movements for String Quartet," Op. 5, III (Anthology, No. 10)

Analysis 4.2. Schoenberg "Angst und Hoffen," No. 7 from Book of the Hanging Gardens, Op. 15 (Anthology, No. 11)

Chapter 5. Drawing on (and Reinterpreting) the Past . . .

Analysis 5.1. Stravinsky, Agnus Dei, from Mass (Anthology, No. 13)

Hindemith's Theoretical and Compositional Premises

Analysis 5.2. Hindemith, Interlude in G, from Ludus tonalis (Anthology, No. 14)

Chapter 6. . . . And Inventing the Future

Ives and Musical Borrowing

Analysis 6.1. Ives, "The Cage" (Anthology No. 17)

Analysis 6.2. Crawford, Diaphonic Suite No. 4, III (Anthology No. 18)

Chapter 7. Twelve-Tone Music I: An Introduction

Basic Principles

Building a Row

Labeling Row Forms

Building a Twelve-Tone Matrix

Identifying Given Row Forms Without Using a Matrix

Analysis 7.1. Dallapiccola, "Contrapunctus secundus," from Quaderno musicale di Annalibera (Anthology No. 19)

Analysis 7.2. Dallapiccola, "Quartina," from Quaderno Musicale Di Annalibera (Anthology No. 20)

Chapter 8. Twelve-Tone Music II: Invariance, Symmetry, and Combinatoriality


Webern and Row Symmetry

Analysis 8.1. Webern, Piano Variations, Op. 27, II (Anthology No. 22)

Hexachordal Combinatoriality

Analysis 8.2. Schoenberg, Klavierstuck, Op. 33a (Anthology No. 23)

Chapter 9. Serialism: Developments After 1945

Stravinsky and Serialism

Analysis 9.1. Stravinsky, "Lacrimosa," from Requiem Canticles (Anthology No. 24)

Analysis 9.2. Boulez, Structures Ia (Anthology No. 25)

Milton Babbitt's Serial Methods

Analysis 9.3. Babbitt, Composition for Twelve Instruments (Anthology No. 26)

Chapter 10. Expanding the Limits of Musical Temporality

Rhythmic and Metric Irregularities in Post-tonal Music

Temporal Issues in the Music of Messiaen

Analysis 10.1. Messiaen, Introduction, from Turangalila Symphony (Anthology, No. 27)

Tempo as a Structural Element in the Music of Elliott Carter

Analysis 10.2. Musical Characters in the Second String Quartet, I (Anthology No. 28)

Analysis 10.3. Stockhausen, Stimmung (Anthology No. 29)

Chapter 11. Aleatory Music, Sound Mass, and Beyond

John Cage's Creative Journey

Analysis 11.1. Cage, Winter Music (Anthology No. 30)

Analysis 11.2. Lutoslawki, Jeux venitiens, I (Anthology No. 31)

Analysis 11.3. Ligeti, Ramifications, Mm. 1-38 (Anthology No. 32)

Chapter 12. Where Past and Future Meet...

George Rochberg and the Use of the Past

Analysis 12.1. Rochberg, Music for the Magic Theater, Reh. 1-17 (Anthology No. 33)

Analysis 12.2. Berio, Sinfonia, III ("In ruhig fliessender Bewegung"), mm. 1-20 (Anthology no. 34)

Chapter 13. Simplifying Means

Analysis 13.1. Reich, Violin Phase (Anthology No. 36)

Analysis 13.2. Andriessen, De Staat, mm. 1-161 (Anthology No. 37)

Analysis 13.3. Part, Cantus (Anthology No. 38)

Chapter 14. Into the Twenty-First Century

The Return of the Motive

Analysis 14.1. Thomas, Spring Song (Anthology No. 39)

Analysis 14.2. Ades, Asyla, II (Anthology No. 40)

Analysis 14.3. Saariaho, Ariel's Hail (Anthology No. 41)

Appendix: The List of Set Classes
Acknowledgement of Sources
Musical Example Index
Subject Index