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Published online by Cambridge University Press: 01 January 2020
There has been a tendency to treat twelve-note music as an isolated phenomenon. This is appropriate in a close study of its structural features and musical purpose, but we shall be in a better position to ask the right questions about its origin and influence if we take into account other music which shows parallel developments. Such a preliminary enquiry may affect our view of its nature and historical significance, and my subject is this first step: less the evolution of twelve-note music than its place in the general evolution of music at about the time of its emergence.
1 p. 469.Google Scholar
2 This is made explicit only in. the third edition of 1922, p. 504–5.Google Scholar
4 Section 132, bars 1–3, 9–11; section 133, bars 2–3; section 136, bars 9–10.Google Scholar
5 Section 82. Other examples are Section 104, bars 6–9 and Section 112 bars 1–3, in the original version.Google Scholar
6 Section 20, bars 1–4, 5–8, 9.Google Scholar
7 cf. especially Section 3, bar 6, to end of Section 4.Google Scholar
8 Bars 12–14 provide a good example. Four related forms of the fundamental chord are used, based on C, A, F♯ and D♯. Bar 12 is on A, except for the duration of the last two of the triplet semiquavers, where it is on C, the F♯ chord in the right hand acting as a pivot. The first half of bar 13 is on A, the second half on F♯, the left hand punning with the previous bar. The first half of bar 14 is on A, the second half on D♯, except the last two semiquavers which return to the C form. This passage is, I think, misunderstood by Zofia Lissa in her admirable article ‘O Harmonice Aleksandra Skrjabina’ in Kwartalnik muryczny (Warsaw), zeszyt 8 1930, p. 340.Google Scholar
9 e.g. Etude no. 9, bars 1 and 11.Google Scholar