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Pitch class

In music theory, a pitch class is defined as the group of all pitches that are related by octave equivalence—meaning they share the same letter name and are separated by whole octaves, such as all instances of C (including middle C, the C above it, and so on)—and enharmonic equivalence, where pitches producing the same sound on equal-tempered instruments like the piano are considered identical, such as A♭ and G♯.^[1] This concept abstracts away from specific frequencies or registers to focus on tonal identity within the Western chromatic scale, which comprises twelve distinct pitch classes labeled from C through B (or numerically as 0 for C, 1 for C♯/D♭, up to 11 for B).^[2] Pitch classes form the foundation of pitch-class set theory, an analytical method pioneered by composers and theorists including Milton Babbitt in the 1950s and systematized by Allen Forte in works like his 1973 book The Structure of Atonal Music.^[2] This approach is particularly vital for examining twentieth- and twenty-first-century music, especially atonal and post-tonal compositions by figures such as Arnold Schoenberg, Alban Berg, and Anton Webern, where traditional tonal hierarchies are absent.^[1] In set theory, collections of pitch classes—known as pitch-class sets—are analyzed for their interval content, symmetries, and relationships, often using modular arithmetic on the 0–11 scale to identify recurring patterns, subsets, and transformations like transposition or inversion.^[2] The notation of pitch classes typically employs integer labels for precision in analysis, visualized on a clock-face diagram where positions represent semitones, enabling the study of complex harmonies, motives, and scales without reliance on functional tonality.^[2] While rooted in equal temperament, the concept extends to microtonal systems, though it remains most standardized in the twelve-tone framework of Western art music.^[1]

Definition and Fundamentals

Basic Concept

A pitch class is defined as the set of all pitches that share the same name and are related by octave equivalence and enharmonic equivalence, grouping together tones that sound perceptually similar despite differing in register.^[1] For instance, the pitch class "C" encompasses every instance of the note C across all octaves, including enharmonic equivalents like B♯, treating them as identical in tonal identity regardless of their specific height on the musical staff.^[1] In contrast to pitch, which denotes a specific instance of a tone with a defined frequency and octave placement, pitch class disregards these concrete attributes to form abstract equivalence classes centered on shared tonal qualities.^[1] A pitch such as middle C (C4) has a precise frequency of 261.63 Hz, while the C one octave higher (C5) is at 523.25 Hz; both, however, belong to the same pitch class, illustrating how this concept prioritizes perceptual and structural similarity over measurable differences in height.^[3] This abstraction facilitates analysis in music theory by focusing on relational patterns rather than absolute positions.^[1] The modern concept of pitch class was introduced by Milton Babbitt in the 1950s and systematized by Allen Forte in his 1973 book The Structure of Atonal Music, where it became a cornerstone for analyzing atonal and post-tonal compositions by enabling systematic study of pitch relationships independent of octave.^[4] This development built upon earlier 19th-century psychoacoustic foundations laid by Hermann von Helmholtz in On the Sensations of Tone (1863), which explored the physiological basis of tone perception and the perceptual unity of octave-related sounds through harmonic analysis.^[5]

Octave Equivalence

Octave equivalence arises from the physical properties of sound waves, where pitches separated by an octave exhibit a frequency ratio of 2:1, leading to harmonic overlap that contributes to their perceptual similarity. For instance, the note C4 has a fundamental frequency of approximately 261.63 Hz, while C5 is nearly exactly double at 523.25 Hz; this doubling means the harmonics of the higher pitch (multiples of 523.25 Hz) include all the harmonics of the lower pitch (multiples of 261.63 Hz starting from the second harmonic), creating a shared overtone structure that enhances consonance and timbral resemblance.^[6]^[7]^[8] Perceptually, humans tend to group octave-related pitches as similar due to psychoacoustic mechanisms that emphasize their shared spectral content, resulting in greater perceived consonance and timbre similarity compared to other intervals. Psychoacoustic studies demonstrate this through phenomena like the octave illusion, where alternating high and low tones an octave apart lead listeners to misperceive the pitch sequence across ears, highlighting the brain's tendency to integrate octave-displaced sounds as equivalent.^[9]^[10] Similarity ratings in controlled experiments further confirm that octave multiples are judged as more alike in pitch than intervals like the perfect fifth or major third, supporting the idea that octave equivalence is rooted in auditory processing rather than mere cultural convention.^[10] This equivalence manifests across diverse musical traditions, underscoring its broad perceptual foundation beyond Western equal temperament. In Indian classical music, for example, the octave (saptak) encompasses 22 shrutis—microtonal intervals—yet treats pitches an octave apart as fundamentally the same note class, as seen in the cyclic repetition of the seven swaras within each octave range. Similarly, Balinese gamelan music employs octave-based scaling in its tuning systems, where instruments are voiced in octave pairs to reinforce timbral unity.^[11]^[12]^[13] Auditory experiments reinforce this, showing that participants across cultures more readily match tones an octave apart as the "same note" than those separated by other intervals, with response times and accuracy rates significantly higher for octaves.^[14] This perceptual grouping forms the basis for the abstraction of pitch class in music theory.^[7]

Notations and Representations

Integer Notation

Integer notation assigns the integers 0 through 11 to the twelve pitch classes in equal temperament, with 0 typically denoting C, 1 denoting C♯/D♭, 2 denoting D, 3 denoting D♯/E♭, 4 denoting E, 5 denoting F, 6 denoting F♯/G♭, 7 denoting G, 8 denoting G♯/A♭, 9 denoting A, 10 denoting A♯/B♭, and 11 denoting B; octave equivalence is handled via modulo 12 arithmetic, ensuring that pitches differing by whole octaves share the same integer label.^[15] This system gained prominence in the mid-20th century through its adoption by theorists and composers like Milton Babbitt, who employed numerical representations of pitch classes—often as order numbers in permutations—to structure twelve-tone serial compositions.^[16] It has since become a standard in computer music environments, such as Max/MSP, where software processes pitch classes derived from MIDI data for algorithmic generation and analysis.^[17] A primary benefit of integer notation lies in its support for mathematical operations on pitch classes, including interval calculations via simple addition; for example, advancing from 0 (C) by 7 semitones reaches 7 (G), corresponding to a perfect fifth.^[18] To derive a pitch class from a specific pitch, the formula applies modulo 12 to the MIDI note number, such that middle C (MIDI note 60) yields 0, as 60 mod 12 = 0.^[19] As an illustrative case, the C major triad—comprising the pitches C, E, and G—is represented by the pitch-class set {0, 4, 7}.^[18]

Letter-Name Notation

In letter-name notation, pitch classes are represented using the seven letters A through G, supplemented by accidentals like sharps (♯) and flats (♭) to account for the full chromatic spectrum of twelve distinct classes within an octave. This system labels each pitch class without reference to octave position, allowing notes such as all instances of "C" or "F♯" to share the same designation regardless of register. For instance, the pitch class between C and D is commonly notated as either C♯ or D♭, reflecting its position in the equal-tempered scale.^[1] A key feature of this notation is enharmonic equivalence, where a single pitch class may bear multiple letter names that sound identical but serve different contextual roles in harmony or melody. Examples include B♯ equating to C, or E♯ to F, with the choice of spelling often determined by the prevailing key signature, modulation, or intervallic relationships to avoid awkward leaps or to align with diatonic conventions. This duality requires performers and analysts to rely on surrounding musical context for disambiguation, as the notation prioritizes readability and functional clarity over unique identifiers.^[18]^[20] The historical foundation of letter-name notation traces back to medieval developments, particularly the hexachord system introduced by Guido d'Arezzo around 1025–1050, which organized pitches into overlapping six-note segments starting on G, C, or F to facilitate sight-singing and solmization with syllables ut, re, mi, fa, sol, and la. Guido's innovations, detailed in treatises like the Micrologus, integrated these letters with staff lines to denote relative pitches, building on earlier alphabetic systems from Boethius while emphasizing practical pedagogy for choral performance. Over centuries, this evolved into the modern key-signature-based naming, where accidentals adjust the diatonic letters to fit chromatic needs, standardizing the A–G cycle across Western musical education and composition by the 18th century.^[21] In contemporary usage, letter-name notation remains prevalent for denoting pitch classes in chord symbols and lead sheets, where a C major triad is simply written as C, E, G, implying the root-position harmony without octave specifics to focus on vertical structure and tonal function. This approach supports improvisation and arrangement by abstracting pitches to their class level, as seen in jazz and popular music standards. For analytical purposes, these labels can cross-reference integer notation, such as mapping C to 0 and proceeding chromatically to B as 11.^[2]^[22]

Alternative Systems

Movable-do solfège represents pitch classes relative to the tonic of a given key, assigning syllables to scale degrees that shift according to the tonal center. In this system, "do" denotes the tonic pitch class, "re" the supertonic, "mi" the mediant, "fa" the subdominant, "sol" the dominant, "la" the submediant, and "ti" the leading tone, emphasizing functional relationships over absolute pitches. For instance, in C major, do corresponds to C, re to D, and mi to E, while in G major, do shifts to G, re to A, and mi to B. This adaptable notation facilitates sight-singing and ear training by highlighting tonal hierarchy, distinct from fixed-do systems that assign syllables to specific pitches regardless of key.^[23] Helmholtz notation employs German-influenced letter names with case distinctions and primes to indicate octaves, but when abstracted to pitch classes, it focuses on the letter root (e.g., c for all octaves of the C pitch class) to denote equivalence across registers. Developed by Hermann von Helmholtz in the 19th century, the system uses lowercase for the octave from middle C upward (c to b) and uppercase for the octave below (C to B), with primes for higher or lower ranges (e.g., c' for the octave above middle C). This abstraction allows for pitch-class analysis in theoretical contexts, where octave-specific primes are omitted to emphasize class identity, such as treating all c's as the same entity in interval calculations.^[24] In non-Western traditions, Indian classical music uses sargam notation, where syllables Sa, Re (or Ri), Ga, Ma, Pa, Dha (or Dhi), and Ni represent the seven primary swaras (notes) modulo the octave, forming the basis of ragas as modal frameworks. Sa serves as the fixed tonic pitch class, with the others denoting relative intervals that can vary slightly in intonation (e.g., komal or tivra variants for Re/Ga/Dha/Ni), enabling flexible melodic construction within a raga's prescribed scale. For example, in Raga Yaman, the ascending sargam might be Sa Re Ga Ma Pa Dha Ni Sa, corresponding to approximate Western equivalents C D E F# G A B C, but always relative to Sa as the root class.^[25]^[26] Similarly, Arabic maqam systems represent pitch classes through scale degrees organized into ajnas (tetrachordal segments), with the tonic as the first degree and subsequent notes defined by characteristic intervals, often including quarter tones. Maqams like Rast feature seven degrees (1-2-3-4-5-6-7) built from two ajnas, such as a major-like tetrachord (1-2-3-4) followed by another (5-6-7-1), where degrees are labeled numerically or by name relative to the tonic, modulo octave. In Bayati maqam, the scale degrees emphasize a half-flat second (e.g., 1 - ♭2 - 3 - 4 - 5 - ♭6 - 7), using neutral or quarter-flat intervals to evoke specific moods, with representation focusing on melodic paths rather than strict equality classes. These degrees facilitate modulation and ornamentation in performance, adapting to instruments like the oud.^[27] Modern variants extend pitch-class representation beyond the standard 12-tone framework, such as labeling positions on the circle of fifths with key names or root pitch classes to visualize tonal relationships and transpositions. The circle arranges the 12 pitch classes counterclockwise by descending perfect fifths (e.g., C-F-B♭-E♭-A♭-D♭-G♭-B-E-A-D-G back to C), with labels indicating major keys outward and minor inward, aiding in identifying shared classes between adjacent keys (e.g., C major and G major share six pitch classes). This diagrammatic notation highlights symmetry and is used in composition for generating progressions. For microtonal extensions, computer-based systems employ hexadecimal notation to encode finer divisions, such as 24 or 31 equal temperaments, where pitch classes are numbered in base-16 (e.g., 0 to F for 16 classes per octave) to accommodate extended scales beyond 12.^[28] In jazz analysis, Roman numerals denote pitch-class functions relative to a key's tonic, using uppercase for major (e.g., I for the tonic triad) and lowercase for minor (e.g., ii for the supertonic), to analyze chord progressions and improvisation scales. For example, a ii-V-I in C major labels Dm as ii (D-F-A pitch classes), G7 as V (G-B-D-F), and Cmaj7 as I (C-E-G-B), emphasizing diatonic relations while allowing chromatic alterations. This functional notation, rooted in classical harmony but adapted for jazz's modal flexibility, guides chord-scale choices like Dorian for ii chords.^[29]

Properties and Mathematical Structure

Interval Calculations

In pitch-class theory, a musical interval is defined as the directed distance between two pitch classes, measured in semitones modulo 12, reflecting the cyclic structure of the octave in equal temperament.^[18] For instance, the interval from pitch class 0 (C) to pitch class 4 (E) spans 4 semitones, corresponding to a major third.^[18] This arithmetic approach abstracts away from specific octaves, focusing on equivalence classes.^[30] The size of an ordered pitch-class interval is calculated using the formula (pc_2 - pc_1) \mod 12, where pc_1 and pc_2 are the integer representations of the pitch classes, and the result yields a value between 0 and 11.^[30] The inversion of an interval i is given by $12 - i, which represents the complementary distance in the opposite direction around the octave circle.^[31] Pitch classes are typically represented using integer notation from 0 to 11, which serves as the basis for these calculations.^[18] Ordered intervals, which preserve direction, are particularly useful in melodic analysis to distinguish ascent from descent.^[32] In contrast, unordered intervals consider the absolute distance, often taking the minimum of i and $12 - i, and are applied in harmonic contexts where orientation is irrelevant; for example, a minor third measures 3 semitones, while a major third measures 4 semitones.^[32] Consider the interval from E (pitch class 4) to B (pitch class 11): (11 - 4) \mod 12 = 7, a perfect fifth.^[30] Its inversion is $12 - 7 = 5, a perfect fourth.^[31] Transposition of a pitch class or set involves adding a constant n (modulo 12) to each element, preserving all internal intervals; for example, transposing the set {0, 4, 7} by n = 5 yields {0, 5, 9}.^[30]^[31]

Circular Nature and Symmetry

Pitch classes in the twelve-tone equal-tempered system are arranged in a circular manner, analogous to the positions on a clock face, where the twelve pitch classes form a closed loop with 0 (typically C) adjacent to 11 (B). This circular structure, often visualized as a clock, allows for wrap-around operations, such that moving from B to C represents an interval of +1 semitone, reflecting the modulo 12 arithmetic inherent in the system.^[33]^[34] The pitch-class circle exhibits various symmetries that underpin transformations in music theory. Rotation corresponds to transposition, shifting all pitch classes by a fixed interval while preserving their relative positions on the circle. Reflection, or inversion, mirrors pitch classes around a central axis; for instance, inversion around 0 swaps pitch class 1 with 11, 2 with 10, and so on, creating inversional symmetry. Subsets of pitch classes, such as diatonic collections, can display additional symmetries, like those arising from repeated interval patterns.^[35]^[36] Mathematically, the set of pitch classes forms the cyclic group \mathbb{Z}/12\mathbb{Z} under addition modulo 12, where operations wrap around the circle, enabling the description of intervals and transpositions as group elements. This group structure captures the periodic nature of the octave, with the circle serving as a geometric representation of these algebraic relations.^[37] A prominent example of rotational symmetry is the whole-tone scale, represented as the pitch-class set \{0, 2, 4, 6, 8, 10\}, which remains invariant under rotation by 2 semitones (transposition by T_2), as each shift maps the set onto itself due to its uniform whole-step intervals. In tonal music, the circle of fifths acts as a generator of the full pitch-class space, achieved by repeated multiplication by 7 modulo 12 (equivalent to adding 7 semitones), which cycles through all twelve classes and highlights the interconnectedness of keys./03%3A_The_Foundations_Scale-Steps_and_Scales/3.05%3A_Other_Commonly_Used_Scales)^[38]

Applications in Music Theory

Role in Tonal Harmony

In tonal harmony, the diatonic collection forms the foundation, comprising seven distinct pitch classes out of the twelve available in the chromatic scale. For instance, the C major scale utilizes the pitch classes {0, 2, 4, 5, 7, 9, 11}, where integers represent semitones above C (pitch class 0).^[39] This set defines the key's tonal material, with other major and minor keys obtained by transposition. The various diatonic modes, such as Dorian or Mixolydian, arise as rotations of this interval pattern within the pitch-class space, preserving the relative stepwise relationships while shifting the tonal center.^[35] Chords in tonal harmony are constructed as subsets of the diatonic pitch classes, emphasizing stability and tension through specific combinations. Major triads, for example, consist of pitch classes {0, 4, 7}, while minor triads use {0, 3, 7}, and diminished triads {0, 3, 6}. Seventh chords extend this, with the dominant seventh chord {7, 11, 2, 5} (as in G7 in C major) creating tension that resolves by semitone motion: the leading tone (11) to the root (0), and the seventh (5) to the third (4).^[40] In root position, these chords are identified solely by their pitch-class content, but inversions rearrange the voicing while retaining the same classes, allowing flexibility in bass lines without altering the harmonic function. Functional harmony assigns roles to these pitch-class subsets, with the tonic {0, 4, 7} providing resolution and stability, the dominant {7, 11, 2} (or with seventh {7, 11, 2, 5}) generating tension toward the tonic, and the subdominant {5, 9, 0} offering preparatory relief. Cadences exemplify this, as in the authentic V-I progression where the dominant's pitch classes—particularly the leading tone (11 resolving to 0) and supertonic seventh (5 to 4)—create semitone pulls that reaffirm the tonic.^[41] This pitch-class framework underlies progressions like ii-V-I, ensuring hierarchical tension and release independent of octave placement. Pitch-class analysis in Beethoven's works, such as his symphonies and piano sonatas, highlights tonal balance through distributions that emphasize diatonic subsets while integrating chromatic inflections for dramatic effect, revealing structural coherence without reliance on specific pitches.^[42]

Use in Atonal and Serial Composition

In atonal music, particularly during Arnold Schoenberg's period of free atonality around 1908–1923, all twelve pitch classes are treated with equal status, devoid of the traditional tonal hierarchy that privileges certain notes as tonic or dominant.^[43] This approach emerged as composers sought to expand beyond common-practice tonality, allowing pitch classes to interact freely without a central key, as exemplified in Schoenberg's works like Pierrot lunaire (1912), where dissonant combinations and novel pitch relations create expressive ambiguity.^[44] The twelve-tone technique, developed by Schoenberg in the early 1920s, formalized this egalitarian treatment by organizing pitch classes into a tone row—an ordered sequence containing each of the twelve chromatic pitches exactly once per statement.^[45] The row serves as the compositional foundation, with derivations such as the retrograde (row read backward), inversion (intervals mirrored), and retrograde inversion ensuring structural variety while maintaining pitch-class balance across the work.^[43] This method, as in Schoenberg's Suite for Piano, Op. 25 (1923), prevents any single pitch class from dominating, promoting a sense of unity through permutation rather than repetition.^[46] Serialism extended these principles beyond pitch to other parameters, with composers like Milton Babbitt developing combinatorial arrays in the mid-20th century. These arrays treat pitch-class rows as permutations of the integers 0–11 (often using integer notation for analysis), enabling complex interweavings of prime, inverted, and retrograded forms to form aggregates that exhaust all pitch classes systematically.^[47] In Babbitt's Composition for Four Instruments (1948), such arrays facilitate "total serialism," where pitch-class orders align across multiple voices to create dense, non-repetitive textures without hierarchical emphasis.^[48] Alban Berg's Lyric Suite (1925–1926) illustrates the technique's motivic potential, deriving pitch-class sets from the tone row to foster thematic cohesion; for instance, recurring hexachords from the row underpin melodic fragments, linking movements through shared interval structures.^[49] Post-serial composers like György Ligeti further adapted pitch-class concepts in the 1950s–1960s, using clusters to group classes by registral density rather than strict rows, as in Atmosphères (1961), where overlapping micropolyphonic lines build sound masses that blur individual pitches into timbral continua.^[50] This approach emphasizes aggregate density over linear ordering, extending atonal equality into textural exploration.^[51]

Pitch-Class Sets

In music theory, a pitch-class set is defined as an unordered collection of distinct pitch classes, typically represented using integer notation modulo 12, where duplicates are excluded and order does not matter.^[52] This abstraction allows for the analysis of pitch collections independent of octave or specific ordering, facilitating comparisons across transpositions and inversions. For example, the set {0,1,4} represents a minor second followed by a major third, capturing a sonic configuration without regard to its starting pitch.^[53] Allen Forte's seminal system, outlined in his 1973 monograph, classifies all possible pitch-class sets from one to nine members using labels of the form n-m, where n indicates the cardinality (number of pitch classes) and m denotes the set's position in a specific ordering based on interval content and compactness.^[54] For trichords (n=3), there are 12 distinct classes, such as 3-11, which encompasses the major and minor triads; for hexachords (n=6), Forte cataloged 50 classes, many of these being significant in atonal analysis due to their structural properties and frequency in twentieth-century repertoire.^[55] Key operations on these sets include transposition (T_n), which shifts all pitch classes by n semitones modulo 12; inversion (I_n), which reflects the set around an axis defined by n (equivalent to 2n - pc modulo 12 for each pitch class pc); and complementation, which yields the set of the remaining pitch classes in the 12-tone universe (e.g., the complement of a trichord is a nonachord).^[53] These operations preserve set-class identity under equivalence, enabling relational analysis.^[54] To standardize representation, pitch-class sets are often expressed in normal form, which arranges the pitch classes in ascending integer order within the tightest possible span on the pitch-class circle—achieved by identifying the largest gap between consecutive classes (including from the last to the first) and starting the numbering just after that gap.^[53] For instance, the set {1,4,8} transposes to normal form {0,3,7} by subtracting 1. Prime form extends this by comparing the normal forms of the set and its inversion, selecting the one with the smallest integer vector (lexicographically lowest when read as a sequence); this minimizes the overall span via combined T_n and I_n operations to yield the canonical representation for the set class.^[55] A representative example is the major triad, denoted as {0,4,7} in integer notation, which achieves normal form [0,4,7] and prime form [0,4,7], corresponding to Forte label 3-11; its inversion yields the minor triad {0,3,7}, but both map to the same set class under prime form minimization.^[53] Forte's framework has been applied to analyze static pitch collections in atonal works, such as Stravinsky's early pieces, where recurring sets like 3-11 reveal underlying symmetries despite the absence of tonal function.^[56]

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[PDF] The Application of Group Theory to Music Theory
Group theory, particularly cyclic groups, is used to describe the twelve-tone scale and the circle of fifths in music. Group theory is intuitive for music ...
[37]
[PDF] That Strikes a Chord! An Illustration of Permutation Groups in Music ...
It is shown that a symbolic represen- tation of the Circle of Fifths can be obtained from the orbit of a Cmajor under the group hT7i.
[38]
[PDF] Word Theory and Musical Scale - UChicago Math
Example 2.23. The Major Scale is well-formed. Consider the C-Major Scale {0,2,4,5,7,9,11}. Between n and T7(n)=7+ n (mod 12) there are 5 scale steps.
[39]
[PDF] Two Musical Orderings - Hampden-Sydney College
Feb 6, 2025 · The pitch classes under octave equivalence in the 12-tone system are identified ... {0,4,7,10} dominant seventh chord. {0,4,7,11} major seventh ...
[40]
[PDF] Strategies for Introducing Pitch-Class Set Theory in the ...
Jan 1, 2010 · Even as pitch-class set theory has been widely integrated into undergraduate music theory curricula, it has remained one.
[41]
[PDF] Stylistic Information in Pitch-Class Distributions
Abstract. This study examines pitch-class distributions in a large body of tonal music from the seventeenth, eighteenth and nineteenth centuries using the ...
[42]
34.1 Twelve-Tone Technique
The four types of row forms used in twelve-tone technique are prime (P), retrograde (R), inversion (I), and retrograde inversion (RI). The prime is the original ...
[43]
Atonal Music: 3 Characteristics of Atonal Music - 2025 - MasterClass
Sep 3, 2021 · The leading voice of atonality in Western music was Arnold Schoenberg, an Austrian composer who led a movement called the Second Viennese School ...
[44]
Dodecaphony [12-Tone Technique] – Music Composition & Theory
A tone row (or series), as prescribed by Schönberg, must contain each of the twelve chromatic pitches (called a pitch class) once and only once.Missing: Schoenberg | Show results with:Schoenberg
[45]
Serialism – Twentieth- and Twenty-First-Century Music
Twelve-tone music uses an ordering of the twelve pitch classes. Similar to a ... Common alternatives include the use of pitch-class numbers, distinct order ...<|separator|>
[46]
Milton Babbitt and 'Total' Serialism (Chapter 7)
Milton Babbitt is accepted as one of the earliest adopters of integral serialism, a label that has been applied to a number of European composers.Missing: integer | Show results with:integer
[47]
[PDF] Composition Tactics in Milton Babbitt,s ThreeSoli e Duettini ... - CORE
These elements include the twelve-tone rows, pitch-class sets (unordered) and segments (ordered), arrays and their realization in the pitch and time domains.
[48]
Sketch Study and Analysis: Berg's Twelve-Tone Music
Oct 1, 1993 · In this view, a natural course for analysis of twelve-tone music is to use sketches as the models for the order position and pitch-class set ...
[49]
György Ligeti, Atmosphères - American Symphony Orchestra
Hardly audible as a canon, by virtue of its general pppp dynamic level as well as its density, the passage achieves the global effect of a cluster being ...Missing: classes | Show results with:classes
[50]
Transformation of Coloration and Density in György Ligeti's Lontano
In Gybrgy Ligeti's Lontano for orchestra (1967), extremely de canonic counterpoint sustains a sound-mass continuum of fluct coloration and density.Missing: compositions | Show results with:compositions
[51]
[PDF] The Structure of Atonal Music
A pitch-class set, then, is a set of distinct integers (i.e., no duplicates) rep- resenting pitch classes. Strictly speaking, one should use the term set of.
[52]
[PDF] Lecture Notes on Pitch-Class Set Theory Topic 1 - andrew.cmu.ed
Pitch-class set theory is not well named. It is not a theory about music in any common sense – that is, it is not some set of ideas about music that may or ...
[53]
The Structure of Atonal Music on JSTOR
The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations ...
[54]
[PDF] Pitch-Class Set Theory in Music and Mathematics Volume I
Mar 2, 2017 · One such method is pitch- class set theory1, which segments musical works into collections of pitch classes that permit in-depth analysis of ...
[55]
Stravinsky and the Rite of Spring - UC Press E-Books Collection
In Forte's The Harmonic Organization of "The Rite of Spring," the (0 2 3 5) tetrachord, pitch-class set 4–10, is encountered throughout.