Example 37. Ruth Brown, “Daddy Daddy” (1952, by Rudolph Toombs). Song-length development of textual, rhythmic, and formal elements. More

Figure 10. The two twelve-tone chords that combine [0369] partitions in the song (climatic passage and final chord) and other “whole-tone” dyad tetrachords. More

Example 3. Lutosławski's “Rycerze,” Iłłakowicz Songs : transformation of harmonic/scalar context for the note C5 in the voice melody (mm. 162, 169). More

Example 6. Lutosławski's “Dzwony cerkiewne,” Iłłakowicz Songs : end of the first and beginning of the second parts, mm. 220–29. More

Example 2. Lutosławski's “Morze,” from Iłłakowicz Songs : opening and closing measures of the song (mm. 1–4 and mm. 54–58); transformation of modal quality ( f −2 ) and reversal of semitonal association for the common pc D, from C♯–D to D–E♭. More

Example 5. Lutosławski's “Wiatr,” Iłłakowicz Songs : tetrachordal partitions in mm. 90–103: [0257], [0235], [0123], and [0369]. More

Example 4. Lutosławski's “Rycerze,” Iłłakowicz Songs : closing passage (mm. 194–99). More

Figure 9. A closed network for “Wiatr,” Iłłakowicz Songs : (a) six twelve-tone chords formed by contiguous tetrachords ([0235], [0123], and [0257]) related by T 4 and T 8 ; (b) intervallic arrangements of twelve-tone chords suggest affinity cycles, where each inscribes two tetrachordal More

Figure 1. Rhythm and blues songs with a single couplet per twelve-bar verse but greater phrase-rhythmic density than the standard form. More

Example 1. Lutosławski's “Morze,” Iłłakowicz Songs : mm. 20–23. The two lists of pitch classes represent the registral ordering of pitches, from lowest to highest. More

Figure 5. Harmonic space for “Rycerze,” Iłłakowicz Songs (chords 3–6, mm. 174–79): (a) superimposition of right- and left-hand hexachords; (b) chordal segments related by p ; (c) notes in different chords related by f . More