Yuri Kholopov and Twelve-Toneness

Datos Bibliográficos

ID21836103
AutoresChristopher Segall (autor de correspondencia)
Año2020
Volumen14
Número2
Fecha de publicación2020-08-04
Open AccessSí
TipoARTICLE
RevistaMusic and Politics (JOURNAL)
Identificadores de la revistaISSN: 1938-7687 • E-ISSN: 1938-7687
EditorialUniversity of Michigan Library (PUBLISHER • US)
DOI10.3998/mp.9460447.0014.204
OpenAlexW3047639897
IdiomaEN
Referencias citadas10

Twelve-tone composition and theory experienced a belated start in the Soviet Union. Composers and theorists of the 1960s-80s, suddenly able to engage with twelve-tone technique, found themselves constructing a notion of a practice that had been initiated long in the past. Yuri Kholopov, the theorist who first wrote of "twelve-toneness," a particular broad conception of twelve-tone and related techniques of the early twentieth century, was faced with both placing the Second Viennese School in its historical context and with restoring the Russian contributions that had been effaced from this history. The various demands imposed on a late-Soviet history of twelve-tone technique created the conditions for an understanding of twelve-tone practice that is more expansive than the equivalent concept in Anglo-American scholarship. Kholopov's array of twelve-tone techniques decenters Schoenberg and accommodates several Russian composers who, a generation earlier, would not have figured in the twelve-tone historical narrative

Geography · Musicology and Musical Analysis

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