Summary of the Table of Contents: Analytic Approaches to Twentieth-Century Music
The book is structured into four main units focusing on analytic approaches to music from the 20th century.
UNIT ONE: Tonality and Twentieth-Century Music
This unit examines basic elements of music in both tonal and non-tonal contexts.
Chapter I: Pitch in Tonal and Non-Tonal Music
* Covers harmonic function as directed motion, the dissolution of functional tonality, and the use of motives and series in both tonal and non-tonal music.
Chapter II: Rhythm and Meter
* Discusses meter in tonal music, metric regularity and irregularity, and the simultaneous use of different meters (polymeter). Also explores the concepts of metric and ametric music.
Chapter III: Texture and Timbre**
* Analyzes the relationship between texture, phrase, and form. It includes discussions on stratified textures, timbre itself, and the placement of timbral changes.
Chapter IV: Form
* Focuses on the structure of musical form and introduces new formal possibilities emerging in 20th-century music.
UNIT TWO: Pitch Structures
This unit introduces analytical methods related to pitch organization, primarily in non-tonal music.
Chapter V: Pitches, Intervals, Melody
* Defines the basic concepts of pitch classes and interval classes. It also provides a model for analyzing melody.
Chapter VI: Set Classes
* Explains how to assign a single name for each set class using normal form (ordenación mínima) and addresses the localization of set classes within a composition.
Chapter VII: Interval Content
* Focuses on the interval content of sets and the compositional and expressive effects derived from set classes.
Chapter VIII: The Use of Different Set Classes
* Explores the relationships between set classes and discusses the principles of unity and variety when different sets are employed.
Chapter IX: Regions of Pitch Classes, Scales, Modes
* Examines large-scale pitch collections, including the **diatonic scale**, the **whole-tone scale** (escala de tonos enteros), the octatonic scale, and other pitch regions.
UNIT THREE: Serial Music
This section is dedicated to the study of serial techniques, primarily dodecaphony (twelve-tone music).
Chapter X: Dodecaphonic Series
* Covers the fundamentals, including the process of **localizing the dodecaphonic series** in a musical piece.
Chapter XI: Common Elements
* Discusses compositional and precompositional relationships and provides an analysis model focusing on motive, phrasing, and continuity using Schoenberg’s String Quartet No. 4.
Chapter XII: Hexachordal Combinatoriality
* Detailed look at combinatoriality in Schoenberg’s works.
Chapter XIII: Derived Series
* Focuses on derived series and the music of Webern, also addressing the use of multiple derived series in a single composition.
UNIT FOUR: Since the Second World War
The final unit explores compositional trends and analytical techniques from the middle of the 20th century onwards.
Chapter XIV: Multiple Orderings of Dodecaphonic Series
* Examines the use of serial techniques by Schoenberg, Berg, and Stravinsky.
Chapter XV: Other Aspects of Serialism
* Discusses the employment of series with less than twelve pitch classes and the extension of serial methods to non-pitch elements (the serialization of other aspects).
Chapter XVI: More Recent Developments
* Covers freer pitch structures, improvisatory and aleatoric music, and the overall simplification of musical language, including the return to tonality and minimalism.
The book concludes with an Appendix dedicated to the topic of Hexachordal Combinatoriality.
