Clermont Pépin’s Toccate no. 3, a work for piano composed in 1961, features extensive repetition and sequencing through the development of smaller atonal intervallic motives. Measures 18–23, in particular, manifest several elements that return repeatedly in the course of the work, and consequently a space defined by the objects and transformations characteristic of this passage can... Continue Reading →
Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summarizes previous analyses that treat voice leading, transpositional invariance, and the behavior of the “French 6th” chords in the piece. It then shows how... Continue Reading →
Stephanie Lind 