Yuri Kholopov and Twelve-Toneness

Dados Bibliográficos

ID21836103
AutoresChristopher Segall (autor correspondente)
Ano2020
Volume14
Fascículo2
Data de publicação2020-08-04
Open AccessSim
TipoARTICLE
PeriódicoMusic and Politics (JOURNAL)
Identificadores do periódicoISSN: 1938-7687 • E-ISSN: 1938-7687
EditoraUniversity of Michigan Library (PUBLISHER • US)
DOI10.3998/mp.9460447.0014.204
OpenAlexW3047639897
IdiomaEN
Referências 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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