Abstract
Ralph Shapey's music combines the continuity of developing variation with the discontinuity of block forms. Through this paradoxical reconciliation of opposing principles, his music brings together divergent compositional traditions from the first half of the twentieth century. This article considers this reconciliation through an analysis of compositional technique in Seven for two pianos. The analysis draws on Shapey's definition of ‘montage’ and on Wolpe's notion of ‘tempo of transformation’. It also incorporates information taken from unpublished sketch materials for Seven.
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