Interval Set Structure in Schoenberg's Op. 11, No. 1

Wittlich, Gary

doi:10.2307/832368

Cited by 8 publications

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“…11, No. 1, a widely studied piece, it has been demonstrated that the TTI-equivalence class of the pitch-class set {0,1,4} is extensively used (Wittlich 1974;Perle 1991, Williams, 1997Straus, 2000). In our experiment, we count and search for all 216 TTI-equivalence classes of pitch-class sets.…”

Section: Methodsmentioning

confidence: 99%

A graph-theoretical approach for pattern matching in post-tonal music analysis

Szeto

Wong

2006

Journal of New Music Research

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A graph-theoretical approach is proposed to facilitate pattern matching in post-tonal music analysis with pitchclass set theory, in which music perception is taken into account by incorporating stream segregation -a model of the perceptual organization of music. A piece of music is modelled as a graph, with each musical note presented as a vertex and the relationship between a pair of musical notes as an edge. The relationship is determined by stream segregation. According to the proposed matching conditions, searching for a musical pattern is equivalent to searching for a special subgraph called a maximal matched CRP subgraph. The comparisons are made between the patterns identified by the graph-theoretical approach and those by the musicologists.

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Section: Methodsmentioning

confidence: 99%

A graph-theoretical approach for pattern matching in post-tonal music analysis

Szeto

Wong

2006

Journal of New Music Research

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“…In his judgment it furthermore is "the first work without text that depends solely upon its atonal musical organization for its coherence and beauty" (Forte, 1981, p. 127). Forte"s conclusion has been shared by many imposing scholars, Rudolph Reti (1962), Jan Maergaard (1972), George Perle (1968), Bryan Simms (2000), and Gary Wittlich (1974), to mention only those who have made the strong arguments.…”

Section: Empirical Bases For Vital Wordsmentioning

confidence: 97%

Empirical Musicology Review: Serialist Claims versus Sonic Reality

Thomson¹

2010

Empirical Musicology Review

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This study examines the descriptive mores of Serialism, as found in writings of leading American academics of the past half-century. A serious gap is revealed, especially between claims made for structural conditions rooted in dodecaphonic procedures and the actual kinetics of music as heard. Curious (and debilitating) ambiguities and dead ends are noted in terms used to define critical perceptual conditions in such music; some claims of significance for features of 12-tone rows in certain works are revealed as wholly irrelevant to music as sonic event. Most prominent of the writings discussed are those of

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“…Todo o estudo está baseado na descrição sucinta de seis análises selecionadas, realizadas pelos seguintes autores: George Perle (1962), Gary Wittlich (1974), Allen Forte (1981), Will Ogdon (1981), Ethan Haimo (1996) e Fred Lerdhal (2001. música em perspectiva v.4 n.1, março 2011 ________________________________________________________________________________ De modo a estabelecer parâmetros comparativos entre as análises, em cada uma delas serão destacados principalmente os seguintes pontos: (1) enfoque analítico adotado em relação à estrutura formal e à organização melódico-harmônica; (2) métodos e terminologia empregados.…”

Section: Descrição Da Metodologiaunclassified

“…A razão dessa escolha se apóia na existência de um rico painel de abordagens analíticas em relação à referida peça, não apenas em número, mas também considerando enfoques, estratégias e resultados. A metodologia deste estudo consiste na descrição de seis dessas análises, realizadas por autores de reconhecido gabarito, compreendendo um período de quatro décadas (Perle, 1962;Wittlich, 1974;Ogdon, 1981;Haimo, 1996 e Lerdahl, 2001), e a apresentação de seus principais pontos de contato e divergências, a partir do estabelecimento de alguns parâmetros comparativos.Palavras-chave -Schoenberg; Três Peças para Piano op.11/1; análise musical. …”

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“…The choice of this particular example was based on the existence of a rich panel of analytical approaches of this piece, not only in number, but also regarding focus, strategy and results. The methodology of this study consists on the description of six of those approaches, elaborated by well-known authors over a period of four decades (Perle, 1962;Wittlich, 1974;Ogdon, 1981;Haimo, 1996 e Lerdahl, 2001, and in the presentation of their main mutual convergences and divergences, under the light of some established comparative parameters. …”

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Pluralidade de abordagens analíticas da primeira das Três Peças para Piano op. 11, de Arnold Schoenberg

Almada

2012

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Resumo: O foco do presente artigo é a multiplicidade de perspectivas levadas em conta em uma análise musical, a partir de um caso especialmente selecionado: a primeira das Três Peças para Piano op. 11, de Arnold Schoenberg. A razão dessa escolha se apóia na existência de um rico painel de abordagens analíticas em relação à referida peça, não apenas em número, mas também considerando enfoques, estratégias e resultados. A metodologia deste estudo consiste na descrição de seis dessas análises, realizadas por autores de reconhecido gabarito, compreendendo um período de quatro décadas (Perle, 1962;Wittlich, 1974;Ogdon, 1981;Haimo, 1996 e Lerdahl, 2001), e a apresentação de seus principais pontos de contato e divergências, a partir do estabelecimento de alguns parâmetros comparativos.Palavras-chave -Schoenberg; Três Peças para Piano op.11/1; análise musical. PLURARITY OF ANALYTICAL APPROACHES: THE FIRST OF THE THREE PIANO PIECES OP.11, BY ARNOLD SCHOENBERGAbstract: The focus of the present article is the multiplicity of perspectives taken into account for musical analysis, which was here applied to a special case: the first of the Three Piano Pieces op.11, by Arnold Schoenberg. The choice of this particular example was based on the existence of a rich panel of analytical approaches of this piece, not only in number, but also regarding focus, strategy and results. The methodology of this study consists on the description of six of those approaches, elaborated by well-known authors over a period of four decades (Perle, 1962;Wittlich, 1974;Ogdon, 1981;Haimo, 1996 e Lerdahl, 2001, and in the presentation of their main mutual convergences and divergences, under the light of some established comparative parameters.

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Interval Set Structure in Schoenberg's Op. 11, No. 1

Cited by 8 publications

References 0 publications

A graph-theoretical approach for pattern matching in post-tonal music analysis

A graph-theoretical approach for pattern matching in post-tonal music analysis

Empirical Musicology Review: Serialist Claims versus Sonic Reality

Pluralidade de abordagens analíticas da primeira das Três Peças para Piano op. 11, de Arnold Schoenberg

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