Description: About the Author Preface Acknowledgements 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 Invariance 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) Epilogue Appendix: The List of Set Classes Bibliography Acknowledgement of Sources Musical Example Index Subject Index

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