Search results
Results from the WOW.Com Content Network
A 12-tone row has hexachordal combinatoriality with another 12-tone row if their respective first (as well as second, because a 12-tone row itself forms an aggregate by definition) hexachords form an aggregate. There are four main types of combinatoriality. A hexachord may be: Prime combinatorial (transposition) Retrograde combinatorial
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition.The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded equally often in a piece of music while preventing the emphasis of any one note [3] through the use of tone rows, orderings of the 12 pitch classes.
This template is intended to provide a consistent and easy display for tone rows, in all forms: prime, retrograde, inverse, retrograde inversion, and inverse retrograde; and in all transpositions.
"Mirror forms", P, R, I, and RI, of a tone row (from Arnold Schoenberg's Variations for Orchestra Op. 31, "Called mirror forms because...they are identical". [1]In music, a tone row or note row (German: Reihe or Tonreihe), also series or set, [2] 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 ...
In music using the twelve-tone technique, derivation is the construction of a row through segments. A derived row is a tone row whose entirety of twelve tones is constructed from a segment or portion of the whole, the generator. Anton Webern often used derived rows in his pieces. A partition is a segment created from a set through partitioning.
Row form Integers Interval classes Notation Composer: Composition Year Hexa-chord I Hexa-chord II Derivation/ Combina-toriality; P: 0 1 2 e t 9 5 4 3 6 7 8: 1 1 3 1 1 4 1 1 3 1 1
Get AOL Mail for FREE! Manage your email like never before with travel, photo & document views. Personalize your inbox with themes & tabs. You've Got Mail!
In it Babbitt for the first time employs a twelve-element duration set to serialize the rhythms as well as the pitches, [1] predating Olivier Messiaen's (non-serial) "Mode de valeurs et d'intensités", but not the Turangalîla-Symphonie (1946–1948), in which Messiaen used a duration series for the first time in the opening episode of the ...