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The book explores cellular pivots as a new means of progression,
functional tonality having disappeared in much of contemporary
music. Bela Bartok can be seen as a kind of father figure to the
other two composers, Chen Yi and George Crumb, in terms of their
stylistic, technical, and even philosophical connections. The
musical affinities of all three composers reflect a larger body of
post-tonal music. Cell constructions and their pivotal motions span
the gamut from traditional/asymmetrical to more
abstract/symmetrical formations. This study provides insight into
universal principles of the post-tonal era and reveals a broader
evolution of the musical language as represented by the three
composers.
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