Abstract
This paper aims to find semitonal voice-leading in the aforementioned piece, following an atonal voice-leading space model. Based on Deborah How’s doctoral dissertation, analytical problems are identified when scanning the series and an investigation of the properties of tetrachords and their derived trichords is carried out. Selected excerpts are chosen to investigate the presence of semitone voice leading; data is collected by evaluating their possible configurations, a statistical distribution survey is carried out and the relevant data is compiled in perspective.
Type
Publication
Revista Musica Theorica