Materials and Techniques of Post-Tonal Music Materials and Techniques of Post-Tonal Music, Fifth Edition provides the most comprehensive introduction to post-tonal music and its analysis available. Covering music from the end of the nineteenth century through the beginning of the twenty-first, it offers students a clear guide to understanding the diverse and innovative compositional strategies that emerged in the post-tonal era, from Impressionism to computer music. This updated fifth edition features: • chapters revised throughout to include new examples from recent music and insights from the latest scholarship; • the introduction of several new concepts and topics, including parsimonius voice- leading, scalar transformations, the New Complexity, and set theory in less chromatic contexts; • expanded discussions of spectralism and electronic music; • timelines in each chapter, grounding the music discussed in its chronological context; • a companion website that provides students with links to recordings of musical examples discussed in the text and provides instructors with an instructor’s manual that covers all of the exercises in each chapter. Offering accessible explanations of complex concepts, Materials and Techniques of Post- Tonal Music, Fifth Edition is an essential text for all students of post-tonal music theory. Stefan Kostka is Professor Emeritus of Music Theory at the Butler School of Music at The University of Texas at Austin. Matthew Santa is Professor of Theory and Chair of the Music Theory and Composition Area at the Texas Tech University School of Music. Materials and Techniques of Post-Tonal Music FIFTH EDITION Stefan Kostka The University of Texas at Austin Matthew Santa Texas Tech University Fifth edition published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Stefan Kostka and Matthew Santa to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. First edition published by Prentice Hall 1989 Fourth edition published by Prentice Hall 2011 Library of Congress Cataloging-in-Publication Data Names: Kostka, Stefan M., author. | Santa, Matthew, author. Title: Materials and techniques of post-tonal music / Stefan Kostka, Matthew Santa. Description: Fifth edition. | New York, NY : Routledge, 2018. | Includes bibliographical references and index. Identifiers: LCCN 2017044195 (print) | LCCN 2017046370 (ebook) | ISBN 9781315229485 (ebook) | ISBN 9781138714168 (hardback) | ISBN 9781138714199 (pbk.) Subjects: LCSH: Composition (Music) | Music—19th century— Analysis, appreciation. | Music—20th century—Analysis, appreciation. Classification: LCC MT40 (ebook) | LCC MT40 .K8 2018 (print) | DDC 781.309/04—dc23LC record available at https://lccn.loc.gov/2017044195 ISBN: 978-1-138-71416-8 (hbk) ISBN: 978-1-138-71419-9 (pbk) ISBN: 978-1-315-22948-5 (ebk) Typeset in Bembo & Helvetica Neue by Florence Production Limited, Stoodleigh, Devon, UK Visit the companion website: www.routledge.com/cw/kostka for our parents Contents Preface xiii Acknowledgments xv 1 The Twilight of the Tonal System 1 Introduction 1 Diatonic Tonal Music 1 Chromatic Tonal Music 2 Some Aspects of Chromatic Harmony 2 Suspended Tonality and Atonality 7 Summary 8 Music from the Chapter in Chronological Context 9 Notes 9 Exercises 9 Further Reading 15 2 Scale Formations in Post-Tonal Music 17 Introduction 17 Five-Note Scales 17 Six-Note Scales 19 Seven-Note Scales: The Diatonic Modes 22 Other Seven-Note Scales 24 Eight-Note Scales 26 The Chromatic Scale 28 Microtonal Scales 29 Scalar Transformations 30 Other Possibilities 31 Summary 32 Music from the Chapter in Chronological Context 33 Notes 33 Exercises 34 Further Reading 41 viii CONTENTS 3 The Vertical Dimension: Chords and Simultaneities 43 Introduction 43 Conventional Tertian Sonorities 43 Tertian Chords with Added Notes 46 Tertian Chords with Split Chord Members 48 Open-5th Chords 50 Quartal and Quintal Chords 51 Secundal Chords 55 Mixed-Interval Chords 57 Whole-Tone Chords 58 Polychords 59 Summary 60 Music from the Chapter in Chronological Context 61 Notes 62 Exercises 62 Further Reading 67 4 The Horizontal Dimension: Melody and Voice Leading 69 Introduction 69 Some New Stylistic Features of Post-Tonal Melody 69 Some Aspects of Melodic Organization 72 Voice Leading in Post-Tonal Music 74 Parallelism 76 Dissonance Treatment 80 Aligned Interval Cycles 81 Summary 82 Music from the Chapter in Chronological Context 83 Notes 83 Exercises 84 Further Reading 88 5 Harmonic Progression and Tonality 89 Introduction 89 Traditional Approaches to Harmonic Progression 89 New Approaches to Harmonic Progression 90 Establishing a Tonal Center 91 Tertian and Nontertian Pitch-Centricity 93 Polytonality 95 Pandiatonicism 97 Atonality 98 Nonharmonic Music 98 Summary 99 Music from the Chapter in Chronological Context 99 Notes 100 CONTENTS ix Exercises 100 Further Reading 103 6 Developments in Rhythm 105 Introduction 105 Written Rhythm and Perceived Rhythm 106 Changing Time Signatures 107 Nontraditional Time Signatures 107 Polymeter 109 Ametric Music 113 Added Values and Nonretrogradable Rhythms 116 Tempo Modulation and Polytempo 117 Serialized Rhythm and Isorhythm 121 The New Complexity 121 Summary 122 Music from the Chapter in Chronological Context 123 Notes 123 Exercises 124 Further Reading 127 7 Form in Post-Tonal Music 129 Introduction 129 Binary Form 130 Ternary Form 130 Rondo Forms 134 Other Part Forms 135 Sonata Form 136 Sectional Variations 137 Continuous Variations 138 Canon and Fugue 139 Proportion: The Golden Mean 140 Nonthematic Delineators of Musical Form 141 Nonorganic Approaches to Musical Form 143 Summary 144 Music from the Chapter in Chronological Context 144 Notes 145 Exercises 146 Further Reading 147 8 Imports and Allusions 149 Introduction 149 Influences from the Past 149 Influences from Folk Music, Jazz, and Rock 156 Music from Other Cultures 162 x CONTENTS Summary 165 Music from the Chapter in Chronological Context 165 Notes 166 Exercises 166 Further Reading 168 9 Nonserial Atonality 169 Introduction 169 Characteristics of Atonal Music 169 Pitch-Class Sets 171 Pitch-Class Intervals 171 Octave Equivalence, Transpositional Equivalence, and Normal Order 172 Inversional Equivalence and Best Normal Order 176 Prime Forms and Set Classes 178 The Interval-Class Vector 179 Invariance 181 Forte Labels 182 Subsets 182 Aggregates 183 More About Segmentation 185 Set Theory in Other Contexts 185 Summary 186 Music from the Chapter in Chronological Context 187 Notes 187 Exercises 188 Further Reading 192 10 Classical Serialism 193 Introduction 193 Basic Terminology 194 The Twelve-Tone Matrix 195 A First Example 197 Analyzing a Row 198 Compositional Uses of the Row 201 Row Succession 203 Combinatoriality 205 The Analysis of Serial Music 207 Summary 208 Music from the Chapter in Chronological Context 208 Notes 209 Exercises 209 Further Reading 216 CONTENTS xi 11 Timbre and Texture: Acoustic 217 Introduction 217 New Timbral Effects from Traditional Instruments 217 Wind Instruments 218 Stringed Instruments 220 Percussion Instruments 223 The Piano 225 The Voice 226 Instrumentation and Orchestration 226 Traditional Textures and Compound Textures 231 Pointillism, Stratification, and Sound-Mass 233 Spectralism 233 Summary 235 Music from the Chapter in Chronological Context 236 Notes 236 Exercises 237 Further Reading 240 12 Timbre and Texture: Electronic 241 Introduction 241 Concrete Music 241 The Classical Electronic Music Studio 243 Digital Synthesis 246 The Development of Midi 249 Samplers, Personal Computers, and Recent Trends in Digital Synthesis 250 Tape and Instrument, Live Performance, and Interactive Computer Music 251 Notation of Electronic Music 253 A Sample Analysis: Sariaaho’s Lonh 254 Summary 256 Music from the Chapter in Chronological Context 256 Notes 257 Exercises 257 Further Reading 261 13 Serialism after 1945 263 Introduction 263 Integral Serialism 263 Integral Serialism in Perspective 273 Other Aspects of Serialism 275 Music after Serialism 277 Summary 277 Music from the Chapter in Chronological Context 278 xii CONTENTS Notes 278 Exercises 279 Further Reading 281 14 The Roles of Chance and Choice in Post-Tonal Music 283 Introduction 283 Chance in Composition 284 Choice in Performance 285 Some Examples of Performer Indeterminacy 286 Graphic Scores And Text Scores 290 Music on the Fringe 294 Summary 295 Music from the Chapter in Chronological Context 296 Notes 296 Exercises 297 Further Reading 298 15 Minimalism and Beyond 299 Introduction 299 Minimalism 299 Beyond Minimalism 306 Summary 313 Music from the Chapter in Chronological Context 314 Notes 314 Exercises 315 Further Reading 316 Appendix: Prime Forms, Forte Labels, and Interval-Class Vectors 317 Bibliography 321 Index 329 Preface Instruction in music theory at the college level has long been concerned