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WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION

WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION This paper proposes a refinement of our understanding of pitch-class inversion in atonal and twelve-tone music. Part I of the essay establishes the theoretical foundation. It reviews the index number approach formulated by Milton Babbitt, examines characteristics of even and odd index numbers, and outlines a partitional approach to pitch-class inversion. Part II explores analytical implications of the partitional model and outlines a methodology for the analysis of note-against-note and free inversional settings. The analyses use the set-class inventories for even and odd index numbers to reduce polyphonic surfaces to note-against-note backgrounds and to evaluate the realizations of inversional designs. Part III generalizes the partitional model to enumerate and classify the distinct background structures for two-, three-, and four-voice inversional settings. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION

Journal of Music Theory , Volume 43 (2) – Jan 1, 1999

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Publisher
Duke University Press
Copyright
Duke University Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-43-2-193
Publisher site
See Article on Publisher Site

Abstract

This paper proposes a refinement of our understanding of pitch-class inversion in atonal and twelve-tone music. Part I of the essay establishes the theoretical foundation. It reviews the index number approach formulated by Milton Babbitt, examines characteristics of even and odd index numbers, and outlines a partitional approach to pitch-class inversion. Part II explores analytical implications of the partitional model and outlines a methodology for the analysis of note-against-note and free inversional settings. The analyses use the set-class inventories for even and odd index numbers to reduce polyphonic surfaces to note-against-note backgrounds and to evaluate the realizations of inversional designs. Part III generalizes the partitional model to enumerate and classify the distinct background structures for two-, three-, and four-voice inversional settings.

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 1999

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