Processes of Redemption and the Aesthetic of the Fragment in the Early Twelve-tone Works of Luigi Dallapiccola

Processes of Redemption and the Aesthetic of the Fragment in the Early Twelve-tone Works of Luigi Dallapiccola

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The conclusions chapter will attempt to place Dallapiccola in the context of modernism. Walter Frisch's term historicist modernism is introduced to draw attention to the fact that, while Dallapiccola breaks from the recent past by using the innovative pitch organisation of the twelve-tone method, he simultaneously reaches out to the past in his endeavour to uphold the ideal of cantabilita.Even more intriguing is that in addition to being a secondary harmony in the CR matrix (see ONa#39;s ... it must cross back to the original part.a€ Ernst K!enek, Studies in Counterpoint: Based on the Twelve-Tone Technique (New York: G. Schirmer Inc., 1940), 14. It should be noted that he is making this comment in the context of ananbsp;...


Title:Processes of Redemption and the Aesthetic of the Fragment in the Early Twelve-tone Works of Luigi Dallapiccola
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Publisher:ProQuest - 2008
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