Page 98
See: Common practice period, Twelve-tone technique
The Listening Composer
“By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs…Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.”
Pages 46-47
The Listening Composer
Help us to complete the source, original and additional information
George Perle 11
American composer 1915–2009Related quotes
Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language
Elliott Carter (1977). The Writings of Elliott Carter, p.186. Bloomington: Indiana University Press.
Cited in Albright, Daniel (2004). Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN 0226012670.

Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

Kepler... in the third book of Harmonice mundi... attempted to make other... related, connections between musical harmony and mathematical proportion.
Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

1930s
Source: 'The Future of Music: Credo' (1937); in: 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, 4/SILENCE

(27th April 1822) The Poet
4th May 1822) Sappho see The Vow of the Peacock (1835
The London Literary Gazette, 1821-1822

Source: Small Houses: Their Economic Design and Construction (1922), Ch. II