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Derived Row
In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a set through partitioning. Derivation Rows may be derived from a sub-set of any number of pitch classes that is a divisor of 12, the most common being the first three pitches or a trichord. This segment may then undergo transposition, inversion, retrograde, or any combination to produce the other parts of the row (in this case, the other three segments). One of the side effects of derived rows is invariance. For example, since a segment may be equivalent to the generating segment inverted and transposed, say, 6 semitones, when the entire row is inverted and transposed six semitones the generating segment will now consist of the pitch classes of the derived segment. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modular Arithmetic
In mathematics, modular arithmetic is a system of arithmetic for integers, where numbers "wrap around" when reaching a certain value, called the modulus. The modern approach to modular arithmetic was developed by Carl Friedrich Gauss in his book ''Disquisitiones Arithmeticae'', published in 1801. A familiar use of modular arithmetic is in the 12-hour clock, in which the day is divided into two 12-hour periods. If the time is 7:00 now, then 8 hours later it will be 3:00. Simple addition would result in , but clocks "wrap around" every 12 hours. Because the hour number starts over at zero when it reaches 12, this is arithmetic ''modulo'' 12. In terms of the definition below, 15 is ''congruent'' to 3 modulo 12, so "15:00" on a 24-hour clock is displayed "3:00" on a 12-hour clock. Congruence Given an integer , called a modulus, two integers and are said to be congruent modulo , if is a divisor of their difference (that is, if there is an integer such that ). Congruence modulo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachord
In music, a hexachord (also hexachordon) is a six-note series, as exhibited in a scale (hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived from the fir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Union (set Theory)
In set theory, the union (denoted by ∪) of a collection of sets is the set of all elements in the collection. It is one of the fundamental operations through which sets can be combined and related to each other. A refers to a union of zero (0) sets and it is by definition equal to the empty set. For explanation of the symbols used in this article, refer to the table of mathematical symbols. Union of two sets The union of two sets ''A'' and ''B'' is the set of elements which are in ''A'', in ''B'', or in both ''A'' and ''B''. In set-builder notation, :A \cup B = \. For example, if ''A'' = and ''B'' = then ''A'' ∪ ''B'' = . A more elaborate example (involving two infinite sets) is: : ''A'' = : ''B'' = : A \cup B = \ As another example, the number 9 is ''not'' contained in the union of the set of prime numbers and the set of even numbers , because 9 is neither prime nor even. Sets cannot have duplicate elements, so the union of the sets and is . Multip ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Degree Of Symmetry
In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a set through partitioning. Derivation Rows may be derived from a sub-set of any number of pitch classes that is a divisor of 12, the most common being the first three pitches or a trichord. This segment may then undergo transposition, inversion, retrograde, or any combination to produce the other parts of the row (in this case, the other three segments). One of the side effects of derived rows is invariance. For example, since a segment may be equivalent to the generating segment inverted and transposed, say, 6 semitones, when the entire row is inverted and transposed six semitones the generating segment will now consist of the pitch classes of the derived segment. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to dominate" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory Spectrum
''Music Theory Spectrum'' () is a peer-reviewed, academic journal specializing in music theory and analysis. It is the official journal of the Society for Music Theory, and is published by Oxford University Press. The journal was first published in 1979 as the official organ of the Society for Music Theory, which had been founded in 1977 and had its first conference in 1978.. Unlike many other journals (music or otherwise), ''Music Theory Spectrum'' was initially published in an oblong (landscape) page format, to better accommodate such musical graphics as Schenkerian graphs. Published twice annually, ''Music Theory Spectrum'' includes research articles and book reviews. Online access to back issues of the journal up 2017 is provided through JSTOR. In a 1999 study, it was the seventh most frequently cited journal in music theses overall, and the third most frequently cited journal in music theory theses. In Spring 2014, Oxford University Press began publishing ''Music Theory Sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Journal Of Music Theory
The ''Journal of Music Theory'' is a peer-reviewed academic journal specializing in music theory and analysis. It was established by David Kraehenbuehl (Yale University) in 1957. According to its website, " e ''Journal of Music Theory'' fosters conceptual and technical innovations in abstract, systematic musical thought and cultivates the historical study of musical concepts and compositional techniques. The journal publishes research with important and broad applications in the analysis of music and the history of music theory as well as theoretical or metatheoretical work that engages and stimulates ongoing discourse in the field. While remaining true to its original formalist outlook, the journal also addresses the influences of philosophy, mathematics, computer science, cognitive sciences, and anthropology on music theory." The journal is currently edited by Richard Cohn. It has a long and distinguished history of past editors, including Allen Forte Allen, Allen's or Allens ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cross-partition
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the " Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cardinality
In mathematics, the cardinality of a set is a measure of the number of elements of the set. For example, the set A = \ contains 3 elements, and therefore A has a cardinality of 3. Beginning in the late 19th century, this concept was generalized to infinite sets, which allows one to distinguish between different types of infinity, and to perform arithmetic on them. There are two approaches to cardinality: one which compares sets directly using bijections and injections, and another which uses cardinal numbers. The cardinality of a set is also called its size, when no confusion with other notions of size is possible. The cardinality of a set A is usually denoted , A, , with a vertical bar on each side; this is the same notation as absolute value, and the meaning depends on context. The cardinality of a set A may alternatively be denoted by n(A), , \operatorname(A), or \#A. History A crude sense of cardinality, an awareness that groups of things or events compare with other grou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equivalence Class
In mathematics, when the elements of some set S have a notion of equivalence (formalized as an equivalence relation), then one may naturally split the set S into equivalence classes. These equivalence classes are constructed so that elements a and b belong to the same equivalence class if, and only if, they are equivalent. Formally, given a set S and an equivalence relation \,\sim\, on S, the of an element a in S, denoted by is the set \ of elements which are equivalent to a. It may be proven, from the defining properties of equivalence relations, that the equivalence classes form a partition of S. This partition—the set of equivalence classes—is sometimes called the quotient set or the quotient space of S by \,\sim\,, and is denoted by S / \sim. When the set S has some structure (such as a group operation or a topology) and the equivalence relation \,\sim\, is compatible with this structure, the quotient set often inherits a similar structure from its parent set. Examp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Set (music)
A set (pitch set, pitch-class set, set class, set form, set genus, pitch collection) in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. . A set by itself does not necessarily possess any additional structure, such as an ordering or permutation. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis. Two-element sets are called dyads, three-eleme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
