Unveiling Schoenberg's op. 33b

Music Theory Spectrum

Volumn 18, Issue 2, 1996, Pages 143-166

  Alegant, Brian ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33750652510     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/746022     Document Type: Review

References (26)

1. Milton Babbitt, "Some Aspects of Twelve-Tone Composition," The Score and I.M.A. Magazine 12 (1955): 53-61
2. "Set Structure as a Compositional Determinant," Journal of Music Theory 5 (1961): 72-94
3. "Twelve Tone Rhythmic Structure and the Electronic Medium," Perspectives of New Music 1 (1962): 49-79
4. David Lewin, "A Theory of Segmental Association in Twelve-Tone Music," Perspectives of New Music 1 (1962): 89-116
5. "A Study of Hexachord Levels in Schoenberg's Violin Fantasy," Perspectives of New Music 6 (1967): 18-32
6. Ethan Haimo, Schoenberg's Serial Odyssey: An Evolution (Oxford: Clarendon, 1990)
7. Martha Hyde, "Musical Form and the Development of Schoenberg's Twelve-Tone Method," Journal of Music Theory 29 (1985): 85-143
8. Richard Kurth, "Mosaic Polyphony: Formal Balance, Imbalance, and Phrase Formation in the Prelude of Schoenberg's Suite, Op. 25," Music Theory Spectrum 14 (1992): 188-208
9. Andrew Mead, "Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music," Perspectives of New Music 24 (1985): 120-57
10. "'Tonal' Forms in Arnold Schoenberg's Twelve-Tone Music," Music Theory Spectrum 9 (1987): 67-92
11. "Twelve-Tone Organizational Strategies: An Analytic Sampler," Intégral 3 (1988): 93-171
12. Stephen Peles, "Interpretations of Sets in Multiple Dimensions: Notes on the Second Movement of Arnold Schoenberg's String Quartet music sharp sign13," Perspectives of New Music 22 (1983-84): 303-52
13. Bruce Samet, Hearing Aggregates (Ph.D. diss., Princeton University, 1987)
14. Kathryn Bailey, "Row Anomalies in Opus 33: An Insight into Schoenberg's Understanding of the Serial Procedure," Current Musicology 22 (1976): 42-61
15. Michael Friedmann, "Motive, Meter and Row: Conflicting Imperatives to the Performer in Schoenberg's Klavierstück op. 33b," Ex Tempore 8 (1995): 29-49
16. Martha Hyde, "Schoenberg: Dodecaphony," in Models of Musical Analysis: Early Twentieth Century Music, ed. Jonathan Dunsby (Oxford: Blackwell Publishers, 1993), 56-80
17. Andrew Mead, "Some Implications of the Pitch-Class/Order Number Isomorphism Inherent in the Twelve-Tone System: Part One," Perspectives of New Music 26 (1988): 96-163
18. Robert Morris and Brian Alegant, "The Even Partitions in Twelve-Tone Music," Music Theory Spectrum 10 (1988): 74-101
19. George Perle in Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern (Berkeley: University of California Press, 1962), 123-29
20. Schoenberg in Fundamentals of Musical Composition, ed. Gerald Strang (London: Faber and Faber, 1967)
21. Donald Martino, "The Source Set and its Aggregate Formations," Journal of Music Theory 5 (1961): 224-73
22. Allen Forte, The Structure of Atonal Music (New Haven: Yale University Press, 1973)
23. Joseph Dubiel, "Three Essays on Milton Babbitt, Part I," Perspectives of New Music 28 (1990): 216-61
24. Ethan Haimo and Paul Johnson "Isomorphic Partitioning and Schoenberg's Fourth String Quartet," Journal of Music Theory 28 (1984): 47-72
25. Schoenberg's in "Composition with Twelve Tones," in Style and Idea, ed. Leonard Stein (Berkeley and Los Angeles: University of California Press, 1975), 220
26. Brian Alegant and Don McLean in "On the Nature of Enlargement," read at the 1995 annual meeting of the Society for Music Theory in New York City