Skip to content

Twelve-Tone Music in America

Spend $50 to get a free movie!

ISBN-10: 0521899559

ISBN-13: 9780521899550

Edition: 2009

Authors: Joseph N. Straus

List price: $150.95
Blue ribbon 30 day, 100% satisfaction guarantee!
Out of stock
what's this?
Rush Rewards U
Members Receive:
Carrot Coin icon
XP icon
You have reached 400 XP and carrot coins. That is the daily max!

Customers also bought

Book details

List price: $150.95
Copyright year: 2009
Publisher: Cambridge University Press
Publication date: 10/1/2009
Binding: Hardcover
Pages: 326
Size: 7.00" wide x 10.00" long x 1.00" tall
Weight: 1.782
Language: English

Joseph N. Straus is Distinguished Professor in the Music Department, Graduate Center, City University of New York.

List of music examples
Preface
Thirty-seven ways to write a twelve-tone piece
"Ultramodern" composers:
Adolph Weiss and "twelve-tone rows in four forms": Prelude for Piano, No. 11 (1927)
Wallingford Riegger and the serial/chromatic dichotomy: Dichotomy (1931-1932)
Carl Ruggles and "dissonant counterpoint": Evocations II (1941)
Ruth Crawford Seeger and rotational/transpositional schemes: Diaphonic Suite No. 1 (1930)
European immigrants:
Arnold Schoenberg and hexachordal inversional combinatoriality: Piano Concerto, Op. 42 (1942)
Ernst Krenek and modal rotation: Lamentatio Jeremiae Prophetae, Op. 43 (1942)
Igor Stravinsky and rotational arrays: "Exaudi," from Requiem Canticles (1966)
Stefan Wolpe and the "structures of fantasy": Form for Piano (1959)
Postwar pioneers:
Milton Babbitt and trichordal arrays: Danci for solo guitar (1996)
Elliott Carter and twelve-note chords: Cat�naires (2006)
George Perle and twelve-tone tonality: Six New Etudes, "Romance" (1984)
Aaron Copland and "freely interpreted tonalism": Inscape (1967)
Roger Sessions and "an organic pattern of sounds and intervals": When Lilacs Last in the Dooryard Bloom'd (1970)
An older generation (composers born before 1920):
Ben Weber and an "available form": Bagatelle No. IV from Five Bagatelles, Op. 2 (1939)
George Rochberg and "the spatialization of music": String Quartet No. 2, with soprano solo (1961)
Ross Lee Finney and "complementarity": Fantasy in Two Movements (for solo violin) (1958)
Barbara Pentland and "the emotional impact of line against line": String Quartet No. 3 (1969)
Roque Cordero and "the rhythmic vitality of our dances": Violin Concerto (1962)
Some serial neoclassicists, tonalists, jazzers, and minimalists
Arthur Berger and "neoclassic twelve-tone" music: Chamber Music for Thirteen Players (1956)
Irving Fine and "chords derived from the series and embellished": Fantasia for String Trio (1957)
Louise Talma and a twelve-tone style "more and more simple" Seven Episodes for flute, viola, and piano (1986-1987)
Samuel Barber and "a mixture of apparently antithetical elements": Piano Sonata, Op. 26 (1949)
Gunther Schuller and the "Third Stream": Transformation (1957)
Hale Smith and the African-American vernacular: Contours for Orchestra (1961)
Michael Torke and "a six-note tune": Ecstatic Orange (1985)
A middle generation (composers born between 1920 and 1940)
Charles Wuorinen and the "time-point system": Piano Concerto No. 3 (1983)
Donald Martino and "chain forms": Notturno (1973)
Ralph Shapey and "The Mother Lode": String Quartet No. 9 (1995)
Ursula Mamlok and pathways through the magic square: Panta Rhei (1981)
Peter Westergaard and "twelve-tone polyphony": Mr. and Mrs. Discobbolos (1966)
Leonard Rosenman and "what was going on inside characters' heads" The Cobweb, film score (1955)
Mel Powell and the "pitch tableau": String Quartet (1982)
A younger generation (composers born after 1940)
Joseph Schwantner and "free serialism": In Aeternum (1973)
Robert Morris and "compositional design": Fourteen Little Piano Pieces (2002)
Peter Lieberson and an "elegantly ordered world": Bagatelles for Solo Piano, I. "Proclamation" (1985)
Andrew Mead and "an ordered hexachordspace": Scena (Recitative, Aria, and Cabaletta for Oboe, or Soprano or Alto Saxophone)(1994)
Jeff Nichols and "the technique of analogies": " ... its darkening opposite, or Set Portrait in a Convex Mirror" (2008)
American twelve-tone music in context
The composition of twelve-tone music in America
The Myth of Serial Orthodoxy
The Myth of Serial Purity
The Myth of Non-Repetition
The Myth of Anti-Tonality
The Myths of Math and Overdetermination
The Myth of the Matrix
The Myth of Structural Incoherence
The history of twelve-tone music in America
The Myth of Serial Origins
The Myth of Integral Serialism
The Myth of Serial Tyranny
The Myth of Serial Demise
The Myth of the Academic Serialist
The Myth of Un-Americanness
The reception of twelve-tone music in America
The Myth of Imperceptiblity
The Myth of Theory
The Myth of Inexpressiveness
The Myth of Unnaturalness
The Myth of the Lost Audience
The Myth of Autonomy
Conclusion
Composing serially
The twelve-tone legacy
Index
Works cited
Index