Relevant bibliographies by topics / Dallapiccola

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Academic literature on the topic 'Dallapiccola'

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Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Dallapiccola"

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Bayer, Francis, and Pierre Michel. "Luigi Dallapiccola." Revue de musicologie 83, no. 2 (1997): 318. http://dx.doi.org/10.2307/946932.

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Bochmann, Minari. "Musik und Politik im faschistischen Italien." arbeitstitel | Forum für Leipziger Promovierende 1, no. 1 (December 31, 2009): 29–47. http://dx.doi.org/10.36258/aflp.v1i1.3206.

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Der italienische Faschismus bestand aus einer vielschichtigen Struktur, die sich allen zeitgenössischen Musikströmungen näherte. Diese Arbeit befasst sich mit den für den italienischen Faschismus spezifischen Voraussetzungen. Das Jahr 1938 markiert in der italienischen Musikentwicklung eine Zäsur. Die erste musica impegnata Italiens, die zur musikalischen Begriffserneuerung in der Nachkriegszeit entscheidend beitrug, wurde anlässlich der antisemitischen Gesetzgebungen in Italien von Luigi Dallapiccola komponiert. Durch Dallapiccolas Komposition bekam die Reihentechnik in der italienischen Kompositionspraxis immer mehr Bedeutung und etablierte sich im Laufe der Zeit als Stimme des Antifaschismus. In dieser Arbeit wird der Verbreitungsprozess der Reihentechnik in Italien nicht nur aus ästhetischer Perspektive, sondern auch aus gesellschaftspolitischer betrachtet.
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Samuel, Jamuna. "Ethics and Musical Language: A Gramscian Reading of Dallapiccola’s Liriche greche and Their Influence." Articles 35, no. 1 (February 14, 2017): 123–53. http://dx.doi.org/10.7202/1038947ar.

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Luigi Dallapiccola (1904–75)—a pioneering figure as serialist, composer of protest music, and trailblazer for the avant-garde—wrote his Greek Lyrics song cycle (1942–5) as an escape from wartime anxiety. I locate the Lyrics within a nexus of technique, text setting, and ethical engagement. That complex resonated with the younger composers Berio, Nono, and Maderna, each responding in the postwar period with settings from the same collection, Quasimodo’s 1940 free translation of classic Greek lyrics. I examine Quasimodo’s ethics, placing his poetry and Dallapiccola’s settings within Gramsci’s notions of language and politics, which were highly influential on postwar Italian composers.
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Manghetti, Gloria. "THE LUIGI DALLAPICCOLA COLLECTION." Music and Letters 75, no. 1 (1994): 154—b—155. http://dx.doi.org/10.1093/ml/75.1.154-b.

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Burroughs, B. "Il prigioniero. Luigi Dallapiccola." Opera Quarterly 16, no. 4 (January 1, 2000): 686–93. http://dx.doi.org/10.1093/oq/16.4.686.

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Eckert, Michael, and Arrigo Quattrocchi. "Studi su Luigi Dallapiccola: un seminario." Notes 51, no. 2 (December 1994): 615. http://dx.doi.org/10.2307/898895.

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Heile, Björn. "Review: The Music of Luigi Dallapiccola." Music and Letters 86, no. 1 (February 1, 2005): 152–54. http://dx.doi.org/10.1093/ml/gci022.

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Phipps, Graham H. "The Music of Luigi Dallapiccola (review)." Notes 61, no. 1 (2004): 131–33. http://dx.doi.org/10.1353/not.2004.0112.

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Окунева, Е. Г. "Rhythm in the Works of Luigi Dallapiccola." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 6–24. http://dx.doi.org/10.26156/om.2020.12.1.001.

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Творчество Луиджи Даллапикколы 1950-1960-х годов отмечено активными экспериментами в области метра и ритма. У композитора сложилась концепция так называемого плавающего ритма (schwebender Rhythmus). В статье данное понятие интерпретируется как связанное со свободной метрикой, ритмической нерегулярностью, безакцентностью. К комплексу приемов, способствующих нарушению метроритмического равновесия, автор относит вуалирование сильных долей, использование внутритактовых и межтактовых синкоп, добавочной длительности, полиметрию. Принципы композиторской работы с ритмом демонстрируются на примере отдельных сочинений 1950-1960-х годов: Музыкальной тетради Анналиберы , вокальных циклов Песни на стихи Гёте и Пять песен , концерта для виолончели с оркестром Диалоги , оперы Улисс . Даллапиккола синтезирует достижения старых мастеров полифонии и композиторов новой венской школы. Он автономизирует звуковысотные и ритмические каноны, оперирует длительностями как конструктивными элементами, работает с ритмическими ячейками как синтаксическими единицами, ищет эквивалент звуковысотной инверсии в ритмическом параметре путем обращения долгих длительностей в короткие и наоборот. Автор проводит параллели между ритмическим мышлением Даллапикколы и ритмическими идеями Мессиана, Булеза, других сериальных композиторов. Прослеживается тенденция к усложнению ритмических структур: Даллапиккола обращается к разнообразным способам числовой организации ритма и наделяет его образно-символическим смыслом. The work of Luigi Dallapiccola of the 19501960s is characterized by active experiments in the field of meter and rhythm. The composer has developed the concept of the socalled floating rhythm (schwebender Rhythmus). In the article, this concept is interpreted as associated with a free metric, rhythmic irregularity, and lack of focus. The complex of techniques mentioned by the author as contributing to violation of the metro-rhythmic equilibrium, includes the veiling of accented beats, the use of in-bar and inter-bar syncopes, additional duration, polymetry. The principles of composers work with rhythm are demonstrated by particular compositions of the 19501960s: Quaderno musicale di Annalibera Musical Notebook of Annalibera, the vocal cycles Goethe-Lieder and Cinque canti, Five Songs, the concert for cello and orchestra Dialoghi Dialogues, and the opera Ulisse. Dallapiccola synthesizes the achievements of ancient polyphony and composers of the new Viennese school. It autonomizes pitch and rhythmic rules, operates with du-rations as constructive elements, works with rhythmic cells as syntactic units, searches for the equivalent of pitch inversion in the rhythmic parameter by converting long dura-tions into short ones and vice versa. The author draws parallels between the rhythmic thinking of Dallapiccola and the rhythmic ideas of Messian, Boulez and other compos-ers-serialists. There is a tendency toward complication of rhythmic structures: Dallapiccola re-fers to various methods of numerical organization of rhythm and gives it figurative and symbolic meaning.
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Bialosky, Marshall, and Rudy Shackelford. "Dallapiccola on Opera: Selected Writings, Vol. 1." Notes 46, no. 2 (December 1989): 393. http://dx.doi.org/10.2307/941081.

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Dissertations / Theses on the topic "Dallapiccola"

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Hees, Julia van. "Luigi Dallapiccolas Bühnenwerk Ulisse : Untersuchungen zu Werk und Werkgenese /." Kassel : G. Bosse, 1994. http://catalogue.bnf.fr/ark:/12148/cb36957562d.

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Earle, B. "Musical modernism in Fascist Italy : Dallapiccola in the thirties." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598730.

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This is the first study in English of the music written by Luigi Dallapiccola (1904-75) during the 1930s. There are five chapters. In the first, I attempt to define Dallapiccola's compositional character with reference to what I have called a prima maniera, judged to have been established by around 1935. Particular stress is laid on Dallapiccola's debt to the works of Stravinsky's so-called 'Russian' period. The second chapter opens by pointing out how Dallapiccola's attitude towards Stravinsky, expressed in essays written throughout his career, was almost exclusively negative. In interviews given in later life, he goes so far as to repeatedly deny that Stravinsky's music had ever influenced him in any way. The contradiction between these denials and the obvious Stravinskyisms which are demonstrated in my first chapter prompts a reappraisal of Dallapiccola's early work in political terms, drawing on contemporary analyses of the relationship between neoclassicism and fascism. Chapter three investigates the most celebrated feature of Dallapiccola's music of this period, the extent to which it partakes of the innovations of the Second Viennese School. The picture usually painted in the literature is revised in the light of the analysis carried out in chapter one. The final two chapters undertake an extended study of Dallapiccola's major work of the 1930s, the one-act opera, Volo di notte (1937-39), after the novel by Antoine de Saint-Exupéry. Chapter four analyses the large-scale musico-dramatic design of the opera. Chapter five addresses the political/aesthetic issues which it raises, when read as a confessional 'artist opera' in the tradition of Die Meistersinger. Parallels are drawn between the decidedly Nietzschean heroism voiced by Saint-Exupéry novel (from which Dallapiccola prepared his own libretto), the modernism both of Schoenberg and of another of Dallapiccola's avant garde idols, Ferruccio Busoni, and a typically fascistic egotistical posturing.
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Bisciglia, Sebastiano. "The influence of Luigi Dallapiccola on Bruno Maderna's early serialism." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18436.

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This thesis examines the influence of Luigi Dallapiccola (1904–1975) on Bruno Maderna's (1920–1973) early serialism by means of a comparative analysis. Two song cycles are compared: Dallapiccola's Liriche greche (1942–45) and Maderna's Tre liriche greche per piccolo coro, soprano solo e strumenti (1948). The author presents separate analyses of each work (Chapters 1 and 2), which form the basis for comparison (Chapter 3). The analysis of Dallapiccola's Liriche greche examines in particular the effects of his non-serial compositional choices on his twelve-tone method. The discussion of Maderna's Tre liriche greche illustrates how his novel methods of serial development result from his aesthetic concern to create diversified musical surfaces. The comparison of the two composers' compositional methods establishes a number of similarities that substantiate Dallapiccola's influence on Maderna. The thesis concludes with a brief investigation of the relationship between Maderna's early and mature serialism.
Le présent mémoire examine l'influence de Luigi Dallapiccola (1904–1975) sur les premières œuvres sérielles de Bruno Maderna (1920–1973) au moyen d'une analyse comparative. Deux cycles de chansons y sont comparés : les Liriche greche de Dallapiccola (1942–1945) et les Tre liriche greche per piccolo coro, soprano solo e strumenti (1948) de Maderna. L'auteur présente des analyses de chaque œuvre aux chapitres 1 et 2, sur lesquelles il fonde son analyse comparative présentée au chapitre 3. L'analyse des Liriche greche de Dallapiccolla examine plus particulièrement les effets de ses choix compositionnels non sériels sur sa méthode dodécaphonique. La discussion des Tre liriche greche de Maderna illustre comment les méthodes innovatrices de développement sériel du compositeur résultent de sa préoccupation esthétique de créer des surfaces musicales diversifiées. La comparaison des approches des deux compositeurs établit plusieurs similitudes qui confirment l'influence de Dallapiccola sur Maderna. Le mémoire se termine par un bref examen des relations entre le sérialisme primitif et tardif de Maderna.
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Snibbe, Chantal. "Die tonale aspekte in die toonreekse van Dallapiccola se seriele komposisies." Diss., Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-07152004-104604/.

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Corrent, Vinicio. "La riscoperta della poesia antica italiana nei compositori del primo Novecento in Italia : dalla generazione dell’Ottanta a Luigi Dallapiccola." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20091.

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L’objectif principal de cette recherche était d’étudier les motivations et les besoins qui ont conduit un groupe de compositeurs italiens, nés autour de 1880, et par cette coïncidence chronologique définis par Massimo Mila comme les compositeurs de « la génération des années quatre-vingt », à utiliser pour leurs œuvres chantées des textes de la poésie italienne du Moyen Age et de la Renaissance. Il s’est agi d’une enquête qui a dû tenir compte de nombreux facteurs, surtout étant donné l’imbrication des intérêts artistiques et littéraires et de la complexité historico-culturelle du contexte de la fin du XIXe et début du XXe siècle.En première instance, il a été fondamental de fixer les termes chronologiques d’un changement, voire d’une véritable rupture déterminée au niveau européen par la crise générale du positivisme exprimée de différentes manières en Italie, sous la forme d’une forte réaction au Vérisme dans le domaine littéraire et au mélodrame dans celui plus spécifiquement musical.Une première donnée importante sur laquelle nous nous sommes concentrés a été celle qui traitait globalement des compositeurs qui créaient non seulement des œuvres chantées pour le théâtre, mais également instrumentales de chambre et symphoniques. En conclusion, on observe qu’il est impossible de reconduire l’explication de la revalorisation des textes de la poésie ancienne italienne chez les compositeurs du début du XXe siècle à un seul élément: il faut donc plutôt rechercher une pluralité d’aspects très souvent dépendants d’exigences socio-économiques, culturelles et historiques bien précises. L’intérêt général pour cette période de la littérature fut élaboré de façon totalement personnelle par chaque compositeur et dans cette recherche, nous pensons avoir donné une contribution significative à l’étude de cet aspect de la musique du XXe siècle
The main purpose of this research was to study the motivations and requirements of a group of Italian composers, born around the years 1880's; for this chronological coincidence defined by Massimo Mila as the composers of the generation of the eighties recognizing the texts of ancient Italian poetry for some of their operas' lyrics. It was a path of investigation taking into account many factors, in particular the interweaving of artistic and literary interests and the cultural historical complexity of the context of the late nineteenth and the early twentieth centuries. Fundamental in the first place was the need to set up chronological indicative terms of the change, in fact, of the real breakthrough determined at European level by the general crisis of positivism reflected in various ways in Italy in the form of a strong reaction to Verismo in literature and to Melodramma specifically within the music. One of the first important aspect that we focused on in the present work was the fact that the composers we took into consideration were creating not only pieces made for the theatre, but also symphonic and instrumental compositions.In conclusion, it was found that the desire of the composers of the beginning of the 20th century to approach to the texts of ancient Italian poetry has been conditioned by many factors, affected by the social, economic, cultural and historical aspects.If there was a merely general interest in that period as far as the literature is concerned, then the same rough times were perceived by each composer in a very unique, personal way and in this research we believe that the significant contribution to the study of this aspect of the 20th century music has been given to a certain extent
Lo scopo principale della presente ricerca è stato quello di studiare le motivazioni e le esigenze che hanno portato un gruppo di compositori italiani, nati intorno al 1880, e per questa coincidenza cronologica definiti da Massimo Mila, come i compositori de « la generazione dell’Ottanta » a utilizzare per le loro opere cantate testi della poesia antica italiana. Si è trattato di un percorso di indagine che ha dovuto tenere conto di numerosi fattori dato soprattutto l’intreccio di interessi artistici e letterari e la complessità storico culturale del contesto di fine Ottocento e inizio Novecento. Fondamentale in prima istanza è stata l’esigenza di fissare dei termini cronologici indicativi di un cambiamento, anzi di una vera e propria rottura determinata a livello europeo dalla generale crisi del positivismo riflessasi in vario modo in Italia nelle forme di una forte reazione al verismo in ambito letterario e al melodramma in quello più specificamente musicale. Un primo dato importante su cui ci si è concentrati nel nostro lavoro è stato quello che si trattava di compositori a tutto tondo, che creavano non solo opere cantate per il teatro, ma anche strumentali da camera e sinfoniche. In conclusione si è riscontrato che il desiderio dei compositori del primo Novecento di rifarsi e riprendere i testi dell’antica poesia italiana per le loro opere, non va attribuito a un solo elemento, ma deve essere riferito a una pluralità di aspetti molto spesso dipendenti da esigenze socio economico culturali e storiche. Se vi fu un generale interesse per quel periodo della letteratura lo stesso fu poi elaborato in modo del tutto personale da ogni compositore e in questa ricerca crediamo di aver dato per quello che abbiamo considerato un significativo contributo allo studio di questo aspetto della musica del Novecento
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Kaley, Duff. "Discovering Dallapiccola's Suleika in the Goethe Lieder." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31599.

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This thesis explores text-music relationships in Dallapiccola’s Goethe Lieder. Though the cycle is based on Goethe’s West-östlicher divan, it was Mann’s novel Joseph und seine Brüder that spurred its inception. This seven-song cycle revolves around Suleika, a character from the biblical love story of Joseph and Potiphar’s Wife. Dallapiccola set this text upon reading Mann’s novel, which stems from the same story; however, Mann portrayed the character of Suleika as a sympathetic lover rather than the traditional evil seductress. By conducting a thorough pitch structure analysis of each song, focusing in particular on motives, symmetry and aggregates, this thesis examines text-music relationships to demonstrate how Mann’s Suleika is musically represented. This thesis illustrates that Dallapiccola’s setting is a musical composite of both Goethe and Mann’s Suleikas and thus sheds new analytical and hermeneutic light on an important work by one of the twentieth-century’s most prominent serial composers.
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Fearn, Raymond. "Luigi Dallapiccola's ‘Sonatina Canonica’: Neoclassicism... or?" Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36761.

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Clarke, Sabrina Rashelle. "On the Poetics of Nonlinear Time: Dallapiccola's Canti di Liberazione." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/384804.

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Music Composition
Ph.D.
The final piece of Dallapiccola’s “protest triptych” responding to Mussolinian fascism, Canti di Liberazione (1955) shows Dallapiccola’s abiding interest in author James Joyce’s work through its literary-inspired “simultaneity” and compositional strategies that suggest mixed temporalities (diverse temporal modes). This connection has significant implications on both the temporal and narrative forces at play within the work. Incorporating the work of philosophers such as Bergson and Adorno, I situate nonlinearity within the context of twentieth-century cultural life. Following Kern, I discuss the juxtaposition of distinct temporalities (simultaneity) in work such as Joyce’s Ulysses, which Dallapiccola adored, in addition to providing an overview of simultaneity in music. Next, I draw from Kramer and Reiner in examining the manifestations of linearity and nonlinearity in music. I explain how intertextuality has nonlinear implications and invites hermeneutic interpretation. Following Brown, I identify different types of symbolism and quotation in the work. Motivic elements such as the BACH cryptogram, musical references to Canti di Prigionia and Il Prigioniero, and structural symbolism such as palindromic gestures, are all crucial components of Liberazione’s unique temporal nexus. I explain how Dallapiccola’s intertextuality and compositional devices (such as retrograde, cross-partitioning, motivic recurrence, and rhythmic figuration) parallel Joyce’s techniques in Ulysses. Finally, I present a temporal analysis of Liberazione. Drawing from Kramer, I show how characteristics such as stepwise pitch relationships, homophony, and triadic gestures suggest linearity, while pedal points, “floating rhythm,” proportions, and polarity present nonlinearity. Moreover, I demonstrate how mixed temporalities (more than one temporal mode) operate within the work, and how linearity and nonlinearity exist at different structural levels. I explain how the recurring 01 dyad—a motivic minor second or major seventh—also manifests in the background stepwise descent of the work (F# to F), subverting the narrative transcendence of the conclusion. Ultimately, I categorize the work as an example of Kramer’s multiply-directed linear time, given its structural pitch connections and goal-directed teleology.
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Waggoner, Dori T. "Row construction and accompaniment in Luigi Dallapiccola's Il Prigioniero." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4957.

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Thesis (M.M.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.
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Votta, Roberto. "O serialismo lírico de Luigi Dallapiccola: uma análise dos processos composicionais aplicados à ópera II Prigioniero (1944-1948)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07072017-154937/.

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O principal objetivo desse trabalho é observar como o compositor italiano Luigi Dallapiccola trabalha, cria e manipula o material musical, as séries e seus desdobramentos, na composição da ópera Il Prigioniero. Por se tratar de uma obra conduzida por um percurso dramático, a análise também envolve, quando necessário, aspectos narrativos, dramatúrgicos, cenográficos e, consequentemente, psicológicos - ao abordar os personagens e suas interações na história. Durante a pesquisa, foram revelados processos composicionais idiossincráticos na maneira como Dallapiccola trabalha o serialismo, em particular, quando o compositor deriva coleções octatônicas de séries dodecafônicas, criando complexos harmônicos e melódicos, inter-relacionando materiais de natureza aparentemente antagônicas. A fim de demonstrar com a maior clareza possível a diversidade de materiais e técnicas utilizadas na criação da ópera, diferentes ferramentas analíticas foram aplicadas, muitas vezes de maneira complementar, durante as análises musicais. O trabalho está dividido em três capítulos sequenciais, além da introdução e das conclusões finais: o primeiro capítulo, introduz, de modo geral, a obra e o desenvolvimento técnico do compositor durante sua vida profissional; o segundo capítulo, aborda a construção dos materiais que alicerçam a composição da ópera; e o terceiro capítulo, expõe a maneira como o compositor cria e desenvolve a composição dramático-musical da ópera.
The main goal of this work is observing how the Italian composer Luigi Dallapiccola works, creates and manipulates the musical material, the series and its unfolding, in the composition of the opera \"Il Prigioniero\". Because it is a dramatic work, the analysis also involves, when necessary, narrative, dramaturgical, scenographic and, consequently, psychological aspects - in approaching the characters and their interactions in history. During the research, idiosyncratic compositional processes were revealed in the way Dallapiccola works serialism when the composer derives octatonic collections from dodecaphonic series, creating harmonic and melodic complexes, interrelating antagonistic materials. To demonstrate as clearly as possible, the diversity of materials and techniques used in the creation of the opera, different analytical tools were applied, often in a complementary way, during the musical analyzes. The work is separated into three sequential chapters, in addition to the introduction and final conclusions: the first chapter introduces, in a general way, the work and technical development of the composer during his professional life; The second chapter deals with the construction of the materials that sustain the composition of the opera; And the third chapter, exposes the way the composer creates and develops the dramatic-musical composition of opera.
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Books on the topic "Dallapiccola"

1

Michel, Pierre. Luigi Dallapiccola. Genève: Contrechamps, 1996.

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Dallapiccola, Luigi. Dallapiccola on opera. [London]: Toccata Press, 1987.

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Venuti, Massimo. Il teatro di Dallapiccola. Milano: Suvini Zerboni, 1985.

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Fearn, Raymond. The music of Luigi Dallapiccola. Rochester, N.Y: University of Rochester Press, 2000.

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Dallapiccola, Luigi. Selected writings of Luigi Dallapiccola. [London]: Toccata Press, 1987.

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Luigi Dallapiccola: Un musicista europeo. Palermo: L'Epos, 2004.

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D'Amore, Giulio. Le opere pianistiche di Luigi Dallapiccola. Milano: Suvini Zerboni, 1987.

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D'Amore, Giulio. Le opere pianistiche di Luigi Dallapiccola. Milano: Suvini Zerboni, 1987.

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Aproximación a la música de Luigi Dallapiccola. Sant Cugat (Barcelona): Arpegio, 2011.

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L' opera di Luigi Dallapiccola: Catalogo ragionato. Milano: Suvini Zerboni, 2002.

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Book chapters on the topic "Dallapiccola"

1

Kämper, Dietrich. "Dallapiccola, Luigi." In Komponisten Lexikon, 144–45. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_72.

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Kämper, Dietrich. "Dallapiccola, Luigi." In Metzler Komponisten Lexikon, 186–87. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_74.

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Hirsbrunner, Theo. "Luigi Dallapiccola: Liriche Greche." In Luigi Dallapiccola, die Wiener Schule und Wien, 193–202. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.193.

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Petrobelli, Pierluigi. "Luigi Dallapiccola: Tre poemi." In Luigi Dallapiccola, die Wiener Schule und Wien, 203–10. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.203.

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Krones, Hartmut. "Zu Luigi Dallapiccola und seinen „Wiener“ Beziehungen." In Luigi Dallapiccola, die Wiener Schule und Wien, 9–126. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.9.

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Andraschke, Peter. "Über die Musik Luigi Dallapiccolas." In Luigi Dallapiccola, die Wiener Schule und Wien, 171–92. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.171.

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Ruffini, Mario. "Dallapiccolas „unvollendeter“ Ulisse als Hommage an Schönberg." In Luigi Dallapiccola, die Wiener Schule und Wien, 137–70. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.137.

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Permoser, Manfred. "„... In dieser ausgestorbenen Stadt ...“." In Luigi Dallapiccola, die Wiener Schule und Wien, 127–36. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.127.

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Kämper, Dietrich. "„Spazio immenso e infiniti mondi“." In Luigi Dallapiccola, die Wiener Schule und Wien, 211–30. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.211.

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Dallapiccola, Luigi. "Der Weg zu zwölf Tönen." In Luigi Dallapiccola, die Wiener Schule und Wien, 231–38. Wien: Böhlau Verlag, 2013. http://dx.doi.org/10.7767/boehlau.9783205792567.231.

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Conference papers on the topic "Dallapiccola"

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Iatesen, Loredana. "COMPARATIVE STYLISTIC ASPECTS DEDUCED FROM THE ANALYTICAL APPROACH OF WORKS: �IL PRIGIONIERO� BY LUIGI DALLAPICCOLA AND �MARIANA PINEDA� BY DORU POPOVICI." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s16.036.

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