By Elliott Antokoletz
This publication presents not just an realizing and appreciation of Georg von Albrecht's musical artwork, but in addition hyperlinks his compositional method of a broader old and theoretical context. the importance of the learn lies within the discovery of a lacking ancient hyperlink within the evolution of ideas that variety from the pentatonic formations and modalities of people track and polymodal blend to the extra summary realm of serial systems. those ideas frequently spread in contexts in line with advanced metric/rhythmic formulizations. Albrecht, whose folkloristic actions and compositional tendencies invoke the inventive spirit of Bela Bartok, is an exemplar of a composer who has synthesized conventional and modern parts from either jap and Western eu resources. He was once encouraged through many cultures, his song imbued with Byzantine and historic Greek components, Hebrew folklore, and Gregorian components, in addition to the pentatonicism of jap Asia. Russian and Lithuanian folklore underlies nearly all of his works. Albrecht's profound reflections on track in addition to the amazing variety of his compositional aesthetics and strategies nonetheless give you the tune historian with a brand new point of perception into a few crucial hyperlinks within the evolution of twentieth-century tune and notion.
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Extra info for The Musical Language of the Twentieth Century
The combo in their preliminary tritones, B-F and G#-D, now generates an identical interval-3 cycle (G#-B-D-F) at first of the row statements. the ultimate version (14), which incorporates the main compounded contrapuntal mix of leading varieties, establishes tritone B-F as a part of the whole basic interval-3 cycle either on the establishing of the difference and close to the midpoint to boot. the adaptation starts, analogous to Var. thirteen, with simple P-11 (B-E#-A#-D#-D-A-G-Db-C-E-F#-G#) in contrapuntal mix this time with its top interval-3 transposition, P-2 (D-G#-C#-F#-F-C-Bb-Fb-Eb-G-A-B). right here, the beginning position of the elemental interval-3 cycle (G#-B-D-E#) is made much more well known via its partial metric displacement prior to the barline and by way of its adjacency to the ultimate observe (E#) of the previous P-8 assertion. The prevalence of tritone B-F close to the guts of the difference (mm. 59-60), besides the fact that, is neither a part of P-11 nor P-2, yet types notes 7-8 of P-3 (D#-A-D-G-F#-C#-B-F-E-Ab-Bb-C). The latter transposition (P-3), like P-11/P-2, is usually aligned contrapuntally with its interval-3 transposition, P-0 (C-F#-B-E-D#-A#-G#-D-C#-F-G-A), whose crucial tritone (G#-D) extends B-F of P-3 to the whole interval-3 cycle, D-F-G#-B. The P-3/P-0 mix additionally aligns the unique cadential tritone (C-F#) of P-11, that is now the starting up tritone of P-0 (mm. 57-8), with D#-A of P-3 to generate the second one whole interval-3 cycle, C-D#-F#-A. moreover, the respective vital tritones (G-Db and Bb-Fb) of P-11 and P-2 (mm. 58-9), which spread at the same time with P-0 and P-3, produce the full type of the remainder interval-3 cycle, Db-Fb-G-Bb. the importance of those extra advanced contrapuntal mixtures, which align pairs of interval-3-related top types (P-11/P-2 and P-3/P-0), is twofold. as well as the iteration of all 3 entire interval-3 cycles from the tritone parts of the row, those compound prime-form pairings additionally let the cyclic-interval reinterpretation of the preliminary and cadential tritones (B-F and CF#) of unique P-11 to be absorbed into the 2 whole-tone cyclic walls (final 3 measures). the 2 notes of P-11's simple tritone (B-F) seem in adjacency for the final time (m. sixty one) as be aware 12 (B) of P-2 and notice 10 (F) of P-0, which jointly symbolize noncorresponding (that is, whole-tone instead of interval3-related) major types; word B ends the cadential whole-tone section (G-A-B) of P-2 within the lowest line, while notice F initiates the cadential whole-tone phase (F-G-A) of P-0 within the uppermost line. those segments jointly define the pitch-class content material of the bigger whole-tone phase, F-G-A-B, that is bounded via the fundamental tritone. Conversely, the interval-9/3 alignments opposed to those basic wholetone segments (G-A-B/F-G-A) spread the respective cadential whole-tone segments (E-F#-G# and Ab-Bb-C) of easy P-11 and its noncorresponding (that is, 197 whole-tone or major-third-related) shape, P-3. jointly, the pitch-class content material of those segments shape a bigger five-note section (E-F#-[G#/Ab]-Bb-C) of the opposite whole-tone cycle within the internal voice.