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Pitch-Class Set Multiplication in Theory and Practice

Pitch-Class Set Multiplication in Theory and Practice This article examines pitch-class set multiplication in its various manifestations, formalized as simple, compound, and complex multiplication. Simple multiplicative techniques are related to their origins in sequence and ostinato, and different technical approaches by Slonimsky, Lutoslawski, and Stravinsky are exemplified. Complex multiplication is posited as an elegant, uniquely Boulezian technique for generating unordered pitch-class sets. An analysis of sets within Le Marteau sans maître demonstrates process-based listening strategies. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Theory Spectrum Oxford University Press

Pitch-Class Set Multiplication in Theory and Practice

Music Theory Spectrum , Volume 20 (1) – Jan 1, 1998

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References (3)

Publisher
Oxford University Press
Copyright
© Published by Oxford University Press.
ISSN
0195-6167
eISSN
1533-8339
DOI
10.2307/746157
Publisher site
See Article on Publisher Site

Abstract

This article examines pitch-class set multiplication in its various manifestations, formalized as simple, compound, and complex multiplication. Simple multiplicative techniques are related to their origins in sequence and ostinato, and different technical approaches by Slonimsky, Lutoslawski, and Stravinsky are exemplified. Complex multiplication is posited as an elegant, uniquely Boulezian technique for generating unordered pitch-class sets. An analysis of sets within Le Marteau sans maître demonstrates process-based listening strategies.

Journal

Music Theory SpectrumOxford University Press

Published: Jan 1, 1998

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