Description
This is the first published detailed analysis of all four of Alban Bergs Four Songs, op.2. This early work lies exactly at the boundary between tonal and atonal means of pitch organization, a boundary often taken as central to the understanding of 20th century music. This study offers a new look at the conceptions of those categories, and traces their development in technical detail and context across all four songs. Includes texts and translations of the songs.
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