Twelve-Tone Polarity in Late Works of Luigi Dallapiccola
1986; Duke University; Volume: 30; Issue: 2 Linguagem: Inglês
10.2307/843575
ISSN1941-7497
Autores Tópico(s)Music Technology and Sound Studies
ResumoThe status of Luigi Dallapiccola in the history of the twelve-tone technique would be assured solely on the basis of his pioneering achievement in introducing the system to Italy and his influence on the younger generation of Italian composers. Three teaching appointments in the United States during the 1950's and 60's as well as numerous concert and lecture tours around the world have confirmed Dallapiccola's international reputation. Despite only brief and sporadic contacts with the masters of the Viennese school, Dallapiccola, over a span of more than thirty years, successfully adopted the twelve-tone system, forging a highly personal style that underwent continual evolution. Beginning with the tentative incorporation of tone rows in the early works of the 1940's, followed by the strict application of twelve-tone procedures in the 1950's and finally the consummate mastery of structure and detail in the works of the 1960's and 70's, Dallapiccola eminently proved the flexibility of the twelve-tone system. Although several writers have addressed Dallapiccola's twelve-tone works of the 1940's and 50's, little of an analytical nature has surfaced regarding the late works.' The present study, in seeking to demonstrate the structural rigor of these pieces, examines one aspect of compositional technique in excerpts drawn from Dallapiccola's late works-excerpts that illustrate some of this composer's unique solutions to the organization of detail in twelve-tone music.
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