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Sacher Hexachord
The Sacher hexachord (6-Z11, musical cryptogram on the name of Swiss conductor Paul Sacher) is a hexachord notable for its use in a set of twelve compositions (''12 Hommages à Paul Sacher'') created at the invitation of Mstislav Rostropovich for Sacher's seventieth birthday in 1976. The twelve compositions include Pierre Boulez's ''Messagesquisse'', Hans Werner Henze's ''Capriccio'', Witold Lutosławski's ''Sacher Variation'', and Henri Dutilleux's ''Trois strophes sur le nom de Sacher''. ''Messagesquisse'' is dedicated to Sacher, but Boulez's ''Répons'', ''Dérive 1'', ''Incises'', and '' Sur Incises'' all use rows with the same pitches.Edward Campbell, ''Boulez, Music and Philosophy'', . (Oxford and New York: Oxford University Press, 2010): 206. . The hexachord's complement is its Z-relation, 6-Z40. See also *Schoenberg hexachord 6-Z44 (012569), known as the Schoenberg hexachord, is Arnold Schoenberg's signature hexachord, as one transposition contains the pitches ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Boulez - Messagesquisse, Sacher Hexachord
Pierre Louis Joseph Boulez (; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war Western classical music. Born in Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism (in the 1950s), controlled chance music (in the 1960s) and the electronic transformation of instrumental music in real time (from the 1970s onwards). His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces regarded by many as landmarks of twentieth-century music, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Witold Lutosławski
Witold Roman Lutosławski (; 25 January 1913 – 7 February 1994) was a Polish composer and conductor. Among the major composers of 20th-century classical music, he is "generally regarded as the most significant Polish composer since Szymanowski, and possibly the greatest Polish composer since Chopin". His compositions—of which he was a notable conductor—include representatives of most traditional genres, aside from opera: symphonies, concertos, orchestral song cycles, other orchestral works, and chamber works. Among his best known works are his four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and his cello concerto (1970). During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music and demonstrated a wide range of rich atmospheric textures. His folk-inspired music includes the Concerto for Orchestra (1954)—which first brought him international renown ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cryptography
Cryptography, or cryptology (from grc, , translit=kryptós "hidden, secret"; and ''graphein'', "to write", or ''-logia'', "study", respectively), is the practice and study of techniques for secure communication in the presence of adversarial behavior. More generally, cryptography is about constructing and analyzing protocols that prevent third parties or the public from reading private messages. Modern cryptography exists at the intersection of the disciplines of mathematics, computer science, information security, electrical engineering, digital signal processing, physics, and others. Core concepts related to information security ( data confidentiality, data integrity, authentication, and non-repudiation) are also central to cryptography. Practical applications of cryptography include electronic commerce, chip-based payment cards, digital currencies, computer passwords, and military communications. Cryptography prior to the modern age was effectively synonymo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schoenberg Hexachord
6-Z44 (012569), known as the Schoenberg hexachord, is Arnold Schoenberg's signature hexachord, as one transposition contains the pitches Es, C, H, B, E, G (A. Schoenberg), E, B, and B being Es, H, and B in German.Friedmann, Michael L. (1990). ''Ear Training for Twentieth-Century Music'', p.109. . Its Z-related hexachord and complement is 6-Z19 (3478te or, in prime form, 013478). They have the interval vector of in common. 6-Z44 lacks prime and inversional combinatoriality. 6-Z44 contains set 3-3 twice and set 3-4 twice. Set 7-22 contains 6-Z44 twice and 6-Z19 twice. Schoenberg used the hexachord in the song "Seraphita" (op. 22 no. 1) and the monodrama ''Die glückliche Hand''.Simms, Bryan R. (2000). ''The Atonal Music of Arnold Schoenberg, 1908-1923'', p.145. . 6-Z44 is associated with the character Hauptmann in Alban Berg's ''Wozzeck''. Each movement of Berg's 1913 Four Pieces for Clarinet and Piano (op. 5) begins with a statement of 6-Z44 or 6-Z19. John Weinzweig u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Z-relation
In musical set theory, an interval vector is an array of natural numbers which summarize the intervals present in a set of pitch classes. (That is, a set of pitches where octaves are disregarded.) Other names include: ic vector (or interval-class vector), PIC vector (or pitch-class interval vector) and APIC vector (or absolute pitch-class interval vector, which Michiel Schuijer states is more proper.) While primarily an analytic tool, interval vectors can also be useful for composers, as they quickly show the sound qualities that are created by different collections of pitch class. That is, sets with high concentrations of conventionally dissonant intervals (i.e., seconds and sevenths) sound more dissonant, while sets with higher numbers of conventionally consonant intervals (i.e., thirds and sixths) sound more consonant. While the actual perception of consonance and dissonance involves many contextual factors, such as register, an interval vector can nevertheless be a help ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hexachordal Complementation
In music theory, ''complement'' refers to either traditional interval complementation, or the aggregate complementation of twelve-tone and serialism. In interval complementation a complement is the interval which, when added to the original interval, spans an octave in total. For example, a major 3rd is the complement of a minor 6th. The complement of any interval is also known as its ''inverse'' or ''inversion''. Note that the octave and the unison are each other's complements and that the tritone is its own complement (though the latter is "re-spelt" as either an augmented fourth or a diminished fifth, depending on the context). In the aggregate complementation of twelve-tone music and serialism the complement of one set of notes from the chromatic scale contains all the ''other'' notes of the scale. For example, A-B-C-D-E-F-G is ''complemented'' by B-C-E-F-A. Note that ''musical set theory'' broadens the definition of both senses somewhat. Interval complementation Rule of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sur Incises
''Incises'' (1994/2001) and ''Sur Incises'' (1996/1998) are two related works of the French composer Pierre Boulez. The pitches of the row used in ''Incises'' and ''Sur Incises'' are based on the Sacher hexachord, the same as those used in the rows for ''Répons'', ''Messagesquisse'', and ''Dérive 1''. ''Incises'' ''Incises'' ("Interpolations") for solo piano was composed in 1994 as a test piece for the Umberto Micheli Piano Competition, where it was first performed on 21 October 1994. Boulez revised it in 2001. ''Incises'' was Boulez's first work for solo piano since his Third Piano Sonata of 1955–57/63. The piece lasts less than ten minutes. The work plays with contrasts of gestures and textures, for instance, repeated pitches or chords in an even tempo interrupted by violent melodic arcs, or sparse chordal interjections without discernible rhythm over long held sonorities. Reviewing of a 2005 performance of ''Incises'', Tim Page described it: "''Incises'' is charged wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Incises
''Incises'' (1994/2001) and ''Sur Incises'' (1996/1998) are two related works of the French composer Pierre Boulez. The pitches of the row used in ''Incises'' and ''Sur Incises'' are based on the Sacher hexachord, the same as those used in the rows for ''Répons'', ''Messagesquisse'', and ''Dérive 1''. ''Incises'' ''Incises'' ("Interpolations") for solo piano was composed in 1994 as a test piece for the Umberto Micheli Piano Competition, where it was first performed on 21 October 1994. Boulez revised it in 2001. ''Incises'' was Boulez's first work for solo piano since his Third Piano Sonata of 1955–57/63. The piece lasts less than ten minutes. The work plays with contrasts of gestures and textures, for instance, repeated pitches or chords in an even tempo interrupted by violent melodic arcs, or sparse chordal interjections without discernible rhythm over long held sonorities. Reviewing of a 2005 performance of ''Incises'', Tim Page described it: "''Incises'' is charged wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Répons
''Répons'' is a composition by French composer Pierre Boulez for a large chamber orchestra with six percussion soloists and live electronics. The six soloists play harp, cimbalom, vibraphone, glockenspiel/xylophone, and two pianos. It was premiered on 18 October 1981 at the Donaueschingen Festival. The composer expanded it until its completion in 1985. The work is dedicated to "on his 80th birthday". ''Répons'' was the first significant work to come out of Boulez's endeavors at IRCAM, an institute in Paris devoted to making technological advances in electronic music. It has been celebrated for its integration of the electronic and the acoustic. Its title, ''Répons'', reflects the fact that the composition is constructed on various types of ''responses'': the acoustic sounds and electronic responses to them as well as the medieval idea of responsorial mirroring between players and speakers in different parts of the concert hall. Tom Service of ''The Guardian'' has called it "Bou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cambridge Companions To Music
The Cambridge Companions to Music form a book series published by Cambridge University Press Cambridge University Press is the university press of the University of Cambridge. Granted letters patent by Henry VIII of England, King Henry VIII in 1534, it is the oldest university press A university press is an academic publishing hou .... Each book is a collection of essays on the topic commissioned by the publisher. on Cambridge University Press website, accessed 21 September 2015. Volumes (sortable table) References External links ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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