This theoretical study is devoted to the analysis of pitch centricity in Sofia Gubaidulina's post-tonal composition Two Paths: Music for Two Violas and Orchestra (1999). A detailed examination of Gubaidulina's approach to the exploration of axes of symmetry and sonic organization as a whole, including the generation of referential sets and their unfolding throughout the piece, will be provided in the four chapters of this study. A thorough analysis of all seven variations of Two Paths shows a consistency in the use of dyads as referential centric poles which serve as an example of the principle of dyadic centricity. This analysis will also show that Gubaidulina is consistent in assigning to these dyads a cadential function, subjecting them to registral filling (chromatic and diatonic), placing and sustaining them at climactic points (thus creating registral connections between corresponding variations) and...

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