Table of Contents

Introduction
On the Twelve-Tone Road (1942-1950)
Aphorism and the Appropriation of Webernian Techniques(1950-1955)
The Apex of the Schoenbergian and Webernian Influence(1956-1960)
Consolidation and Synthesis (1960-1972)
Dallapiccola's Idiosyncratic Approach to "Octatonic Serialism"
An Mathilde: An Unsung Cantata
Parole di San Paolo: "A Performance under a Glass Bell"
Afterword
Notes
Selected Bibliography
Index

Reviews

Wonderful insight. . . Revelatory archival work illuminate[s] the highly sophisticated way in which Dallapiccola's music relates to the verbal text.
*INDIANA THEORY REVIEW*

The book raises more questions than it answers, and that is surely a good thing: it makes one think. . . [Many of the] scores [in reduction] are quoted complete, which is certainly an aid to clarity. The analyses are therefore all the easier to contextualize. . . The analysis of An Mathilde . . . is a labour of love which really amounts to a plea for it to be recorded.
*TEMPO*

'Alegant's sophisticated, accessible analyses deeply enrich our understanding of one of the most fascinating sound worlds from the twentieth century. The Twelve-Tone Music of Luigi Dallapiccola is a major achievement.
*Christoph Neidhofer, Associate Professor (Music Theory), Schulich School of Music, McGill University*

All three chapters [of Part 2] are major contributions to the analytical literature: the latter two are the most exhaustively detailed and clearly presented technical explications available of individual Dallapiccola compositions. Throughout the book the music examples are exemplary, and include all of An Mathilde and Parole di San Paolo in annotated reduced scores. . . . Deserves the attention of anyone seriously interested in the analysis or the history of twelve-tone music.
*JOURNAL OF MUSICOLOGICAL RESEARCH*

Probes . . . deeply into how, not why, Dallapiccola 'composed with twelve tones.' . . . Required reading.
*CHOICE*

Strikingly lucid and civilized exercise in interpretive analysis. . . . Hermeneutically sensitive. . . . It will be all to the good if Alegant's case studies are used in post-tonal analysis courses as models for critical emulation.
*MUSIC AND LETTERS*

The immense effort [.] involved in setting so many detailed music examples and annotations in this text merits the reward of close study from students and fellow specialists, and it will be all to the good if Alegant's case studies are used in post-tonal analysis courses as models for critical emulation.
*MUSIC & LETTERS, November 2011*