Abstract
This article is a study of symmetry, briefly as applied to objects in two-dimensional space and pitch-class space, then more extensively to musical form. Despite the limited presence of complete symmetry in tonal music, the concept-along with the related one of symmetrybreaking-is helpful for understanding this music's formal properties. Special attention is given to a rare kind of antecedentconsequent period in which symmetry-in some cases retrograde, but more commonly transpositonal-is rigorously preserved. Its evolution is traced in compositions by Haydn, Beethoven, Schumann, Chopin, and Scriabin. This content downloaded from 157.55.39.37 on Thu, 28 Apr 2016 05:44:05 UTC All use subject to http://about.jstor.org/terms
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