ABSTRACT
According to Gerhard Schoenberg's reorderings, resulting from permutation of the two hexachords of the set, are acceptable on the basis that beyond the set there is an abstract archetype of which the individual set represents only one possible permutation. Skalkottass twelve-note compositional technique is largely a manifestation of this permutation principle. Indeed, segmentation and reordering of trichords, tetrachords and, less frequently, hexachords are essential to his compositional style; they are part of his developmental motivic technique, similar to Schoenberg's developing variation. The original pitch-class order of the sets, as given in their first appearance and/or as adopted after adjustments in the course of the piece, acquires thematic significance. Pitch-class doubling and repetition results in the preservation and often intensification of the identity of a specific segment or motive based on a particular set. The simultaneous, polyphonic presentation of a sets segments often generates specific harmonic events that are taken up in the ensuing developmental process.
