DOIAbstract
This survey addresses perhaps the least-known aspect of Luigi Dallapiccola\u27s twelve-note music, namely the composer\u27s preference for octatonic collections. Part I summarises the different arrangements of octatonic hexachords that are possible within a twelve-note context. Parts II–IV then examine some of the octatonic characteristics which recur across a number of specific works, several of which have not previously been the subject of critical attention. Octatonicism is thereby revealed as a consistent feature of Dallapiccola\u27s harmonic language that runs throughout his twelve-note canon
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