Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that.
One branch of musical set theory deals with collections (sets and permutations) of pitches and pitch classes (pitch-class set theory), which may be ordered or unordered, and can be related by musical operations such as transposition, melodic inversion, and complementation. Some theorists apply the methods of musical set theory to the analysis of rhythm as well.
Although musical set theory is often thought to involve the application of mathematical set theory to music, there are numerous differences between the methods and terminology of the two. For example, musicians use the terms transposition and inversion where mathematicians would use translation and reflection. Furthermore, where musical set theory refers to ordered sets, mathematics would normally refer to tuples or sequences (though mathematics does speak of ordered sets, and although these can be seen to include the musical kind in some sense, they are far more involved).
Moreover, musical set theory is more closely related to group theory and combinatorics than to mathematical set theory, which concerns itself with such matters as, for example, various sizes of infinitely large sets. In combinatorics, an unordered subset of objects, such as pitch classes, is called a combination, and an ordered subset a permutation. Musical set theory is better regarded as an application of combinatorics to music theory than as a branch of mathematical set theory. Its main connection to mathematical set theory is the use of the vocabulary of set theory to talk about finite sets.
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This course provides an introduction into music theory and analysis, composition, and creativity, and combines theoretical teaching with hands-on practical exercises and music making.
This course will introduce students to the central topics in digital musicology and core theoretical approaches and methods. In the practical part, students will carry out a number of exercises.
Retracer l'histoire de la pratique de l'improvisation dans la musique savante de la Renaissance à nos jours. Analyser les différents contextes, styles, genres musicaux dans lesquels l'improvisation pr
In music, a pitch class (p.c. or pc) is a set of all pitches that are a whole number of octaves apart; for example, the pitch class C consists of the Cs in all octaves. "The pitch class C stands for all possible Cs, in whatever octave position." Important to musical set theory, a pitch class is "all pitches related to each other by octave, enharmonic equivalence, or both." Thus, using scientific pitch notation, the pitch class "C" is the set {Cn : n is an integer} = {..., C−2, C−1, C0, C1, C2, C3 ...}.
In music, transposition refers to the process or operation of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval. The shifting of a melody, a harmonic progression or an entire musical piece to another key, while maintaining the same tone structure, i.e. the same succession of whole tones and semitones and remaining melodic intervals. For example, one might transpose an entire piece of music into another key.
In music, a tone row or note row (Reihe or Tonreihe), also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found. Tone rows are the basis of Arnold Schoenberg's twelve-tone technique and most types of serial music. Tone rows were widely used in 20th-century contemporary music, like Dmitri Shostakovich's use of twelve-tone rows, "without dodecaphonic transformations.
Explores multipole expansion in electrostatics and magnetostatics, focusing on monopole, dipole, and higher-order moments, and their mathematical representations.
The aim of this paper is to argue that complementation is an operation similarly fundamental to music theory as transposition and inversion. We focus on studying the chromatic complement mapping that translates diatonic seventh chords into 8-note scales wh ...
Diachronic stylistic changes in music are to a large extent affected by composers' different choices, for example regarding the usage of tones, intervals, and harmonies. Analyzing the tonal content of pieces of music and observing them over time is thus in ...
This dissertation on data-driven music theory is centered around curatorial practices concerning the creation, publication, and evaluation of large, expert-annotated symbolic datasets. With its primary interest in the harmony of European tonal music from i ...