The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability.
| Identifer | oai:union.ndltd.org:uottawa.ca/oai:ruor.uottawa.ca:10393/23146 |
| Date | January 2012 |
| Creators | Ravensbergen, Jacqueline |
| Contributors | Dineen, Murray |
| Publisher | Université d'Ottawa / University of Ottawa |
| Source Sets | Université d’Ottawa |
| Language | English |
| Detected Language | English |
| Type | Thesis |
Page generated in 0.0028 seconds