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Published online by Cambridge University Press: 04 February 2010
Style, in music where pitch alone is serialised, stems from decisions about repetition. The set can be used in such a way that, even if restatements of one particular form are frequent, a different register, rhythm and timbral distribution will make it difficult to hear the restatement as repetition, at least before close analysis. Serial composers who retain the essentially traditional, pre-serial method of melodic or motivic identity are perhaps more likely to use repetitions which possess a clear similarity of shape as well as an explicit element of variation. Such a method can ensure the audibility of the evolving structure of a serial work, and also enable a composer to use designs involving tonal emphases without recourse to triadic formulae.
1 The overall structure of the work has been authoritatively discussed by Spies, Claudio in Perspectives of New Music Vol. 3 No. 2 pp. 104–126 CrossRefGoogle Scholar , a writer to whom any student of recent Stravinsky is heavily indebted.