TL;DR: In this article, Boulezian form in theory and practice is studied in the writings of Pierre Boulez, from the 1970s to the present part II, with a focus on form, thematicism and perceptual categories.
Abstract: 1. Introduction Part I. Form as Opposition in the Writings of Pierre Boulez: 2. Writings from the first period: serialist doctrine, the open work, and strategies of rhetorical displacement 3. A portrait of Webern, a self-portrait of Boulez 4. Form, thematicism and perceptual categories in the writings from the 1970s to the present Part II. Form as Opposition in Selected Works by Pierre Boulez: 5. Introduction to Part II: analysis by, of, in and according to Boulez 6. Rituel and the architecture of antiphony 7. Derive 1 and harmonic control 8. Memoriale and polar mechanics 9. Anthemes and virtual thematics 10. Incises and the play of recognition and surprise 11. Boulezian form in theory and practice Writings by Boulez Chronological list of works and bibliography of writings classified by work Selected recordings of works studied.
TL;DR: The full context surrounding Pierre Boulez's multiplication operation and its repercussions in terms of the structure of the music have not been well understood as discussed by the authors, but it has been shown that the trajectories that Boulez chooses to move through his precompositional tables and the specific ways that multiplication products are realized on the musical surface are also key determinants of structure in this music.
Abstract: Neither the full context surrounding Pierre Boulez's multiplication operation nor its repercussions in terms of the structure of the music have been well understood. Boulez's multiplication operations are tied to specific transpositional schemes. These transpositional schemes are contextual and depend on the intervallic configuration of the factors of the multiplication. Thus, they create important isomorphic relationships that cut across different levels of musical structure. This article presents examples from two pieces by Boulez: Structures II and Troisieme Sonate. The examples demonstrate that, because of the trajectories that Boulez chooses to move through his precompositional tables and the specific ways that the multiplication products are realized on the musical surface, the isomorphic relationships that are essential to the tables are also key determinants of structure in this music.