Pitch-class set multiplication in theory and practice

Music Theory Spectrum

Volumn 20, Issue 1, 1998, Pages 72-96

  Heinemann, Stephen ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61949460507     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/746157     Document Type: Review

References (26)

1. Lev Koblyakov, "P. Boulez 'Le marteau sans maître,' analysis of pitch structure," Zeitschrift für Musiktheorie 8/1 (1977): 24-39.
2. Lev Koblyakov, "The World of Harmony of Pierre Boulez: Analysis of Le marteau sans maître" (Ph.D. diss., Hebrew University of Jerusalem, 1981),
3. Pierre Boulez: a World of Harmony (New York: Harwood Academic Publishers, 1990).
4. Pierre Boulez, Boulez on Music Today, trans. Susan Bradshaw and Richard Rodney Bennett (Cambridge: Harvard University Press, 1971), 35-143.
5. Olivier Messiaen, Technique de mon langage musical (Paris: Alphonse Leduc, 1944).
6. Richard L. Cohn, "Transpositional Combination in Twentieth-Century Music" (Ph.D. diss., Eastman School of Music, 1987), 48-50;
7. "Inversional Symmetry and Transpositional Combination in Bartók," Music Theory Spectrum 10 (1988): 23.
8. Nicolas Slonimsky, Thesaurus of Scales and Melodic Patterns (New York: Schirmer Books/Macmillan, 1987; originally published by Charles Scribner's Sons, 1947), ii;
9. Anatol Vieru, "Modalism - A 'Third World,'" Perspectives of New Music 24/1 (1985): 65.
10. George Perle (correspondence, Music Theory Spectrum 17/1 [1995]: 138)
11. John Rahn, Basic Atonal Theory (New York: Longman, 1980).
12. Alan Chapman, "Some Intervallic Aspects of Pitch-Class Set Relations," Journal of Music Theory 25/2 (1981): 275-290.
13. Robert Morris "Equivalence and Similarity in Pitch and their Interaction with Pcset Theory" (paper presented at the Annual Meeting of the Society for Music Theory, Tallahassee, 1994).
14. Vincent Persichetti, Twentieth-Century Harmony (New York: Norton, 1961), 217.
15. J. C. Thomas, Chasin' The Trane [New York: Da Capo, 1976], 102.
16. Oliver Nelson's Patterns: An Aid to Improvisation (Hollywood, Calif.: Noslen, 1966).
17. Igor Stravinsky and Robert Craft, "A Quintet of Dialogues," Perspectives of New Music 1/1 (1962): 16.
18. Joseph N. Straus, "A Principle of Voice Leading in the Music of Stravinsky," Music Theory Spectrum 4 (1982): 106-24 passim.
19. Heinemann, "Pitch-Class Set Multiplication in Boulez," 29-30
20. Harold Owen, Modal and Tonal Counterpoint (New York: Schirmer, 1992), 346.
21. Boulez, Conversations with Cèlestin Deliège (London: Eulenberg Books, 1976), 66.
22. Arnold Schoenberg Institute, From Pierrot to Marteau (Los Angeles: Arnold Schoenberg Institute, 1990), 21, reprinted here by permission of the Paul Sacher Foundation.
23. Pieter van den Toorn, The Music of Igor Stravinsky (New Haven: Yale University Press, 1983),
24. Stravinsky and The Rite of Spring: The Beginnings of a Musical Language (Berkeley: University of California Press, 1987).
25. Fred Lerdahl, "Cognitive Constraints on Compositional Systems," in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, ed. John Sloboda (Oxford: Oxford University Press, 1988), 231-259,
26. Ciro G. Scotto, "Can Non-Tonal Systems Support Music as Richly as the Tonal System?" (D.M.A. diss., University of Washington, 1995), especially in Chapter 1.