Download Musical Form and Transformation: Four Analytic Essays by David Lewin PDF

By David Lewin

Individual song theorist and composer David Lewin (1933-2003) applies the conceptual framework he constructed in his past, leading edge Generalized Musical durations and differences to the various repertoire of the 20 th century during this stimulating and illustrative e-book. interpreting the varied compositions of 4 canonical composers--Simbolo from Dallapiccola's Quaderno musicale di Annalibera ; Stockhausen's Klavierstuck III ; Webern's Op. 10, No. four; and Debussy's Feux d'articifice --Lewin brings forth buildings which he calls "transformational networks" to bare fascinating and suggestive points of the track. during this complementary paintings, Lewin stimulates thought of the overall technique of musical research and problems with large-scale shape as they relate to transformational analytic structuring. Musical shape and Transformation , first released in 1993 by means of Yale collage Press, was once the recipient of an ASCAP Deems Taylor Award.

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2-5, preserves the trichord {5,6,7} and replaces the tritone {2,8} by the tritone {4,t}. In comparison, p8-to-P9, as over mm. 8—10, preserves the trichord {5,6,7} and replaces the minor third {1,4} by the minor third {8,e}. It is not immediately clear that we will want to assert a functional relation between p9-to-P8 (mm. 2-5) and p8-to-P9 (mm. 8-10). On the other hand, the notation does reflect a possible, more indirect sort of relation that we can always assert if we want to. Since p8 and P9 return concomitantly over mm.

And those two row forms control the configurations of mm. 2. The fact that the two configurations share {G,Al>} dyads in their opening verticalities falls out from the already defined I-row relationship; it is not a defining aspect of an I-configuration relationship. That said, we can note that both the m. 29 and m. 33 configurations have {G,Al>} as the non-BACH-voice dyad in their opening verticalities, and that both configurations have (Fit,A} as the non-BACH-voice dyad in their final verticalities.

The row F—FU—AH-Ctt- . . controls the configuration of m. >— . . controls the configuration of m. 11; the two configurations are "I-inversions" in this new sense. The fact that they share odd-dyads-out now follows from the already defined I-row relationship; it is not a defining aspect of an I-configuration relationship. »-C-Dlf- . ) = At-G-BC— . . And those two row forms control the configurations of mm. 2. The fact that the two configurations share {G,Al>} dyads in their opening verticalities falls out from the already defined I-row relationship; it is not a defining aspect of an I-configuration relationship.

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