A Generalized Dual of the Tonnetz for Seventh Chords: Mathematical, Computational and Compositional Aspects
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Chapter 1 Geometric Generalizations of the Tonnetz and Their Relation To
November 22, 2017 12:45 ws-rv9x6 Book Title yustTonnetzSub page 1 Chapter 1 Geometric Generalizations of the Tonnetz and their Relation to Fourier Phases Spaces Jason Yust Boston University School of Music, 855 Comm. Ave., Boston, MA, 02215 [email protected] Some recent work on generalized Tonnetze has examined the topologies resulting from Richard Cohn's common-tone based formulation, while Tymoczko has reformulated the Tonnetz as a network of voice-leading re- lationships and investigated the resulting geometries. This paper adopts the original common-tone based formulation and takes a geometrical ap- proach, showing that Tonnetze can always be realized in toroidal spaces, and that the resulting spaces always correspond to one of the possible Fourier phase spaces. We can therefore use the DFT to optimize the given Tonnetz to the space (or vice-versa). I interpret two-dimensional Tonnetze as triangulations of the 2-torus into regions associated with the representatives of a single trichord type. The natural generalization to three dimensions is therefore a triangulation of the 3-torus. This means that a three-dimensional Tonnetze is, in the general case, a network of three tetrachord-types related by shared trichordal subsets. Other Ton- netze that have been proposed with bounded or otherwise non-toroidal topologies, including Tymoczko's voice-leading Tonnetze, can be under- stood as the embedding of the toroidal Tonnetze in other spaces, or as foldings of toroidal Tonnetze with duplicated interval types. 1. Formulations of the Tonnetz The Tonnetz originated in nineteenth-century German harmonic theory as a network of pitch classes connected by consonant intervals. -
Diatonic-Collection Disruption in the Melodic Material of Alban Berg‟S Op
Michael Schnitzius Diatonic-Collection Disruption in the Melodic Material of Alban Berg‟s Op. 5, no. 2 The pre-serial Expressionist music of the early twentieth century composed by Arnold Schoenberg and his pupils, most notably Alban Berg and Anton Webern, has famously provoked many music-analytical dilemmas that have, themselves, spawned a wide array of new analytical approaches over the last hundred years. Schoenberg‟s own published contributions to the analytical understanding of this cryptic musical style are often vague, at best, and tend to describe musical effects without clearly explaining the means used to create them. His concept of “the emancipation of the dissonance” has become a well known musical idea, and, as Schoenberg describes the pre-serial music of his school, “a style based on [the premise of „the emancipation of the dissonance‟] treats dissonances like consonances and renounces a tonal center.”1 The free treatment of dissonance and the renunciation of a tonal center are musical effects that are simple to observe in the pre-serial music of Schoenberg, Berg, and Webern, and yet the specific means employed in this repertoire for avoiding the establishment of a perceived tonal center are difficult to describe. Both Allen Forte‟s “Pitch-Class Set Theory” and the more recent approach of Joseph Straus‟s “Atonal Voice Leading” provide excellently specific means of describing the relationships of segmented musical ideas with one another. However, the question remains: why are these segmented ideas the types of musical ideas that the composer wanted to use, and what role do they play in renouncing a tonal center? Furthermore, how does the renunciation of a tonal center contribute to the positive construction of the musical language, if at all? 1 Arnold Schoenberg, “Composition with Twelve Tones” (delivered as a lecture at the University of California at Las Angeles, March 26, 1941), in Style and Idea, ed. -
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors Richard Bass Journal of Music Theory, Vol. 38, No. 2. (Autumn, 1994), pp. 155-186. Stable URL: http://links.jstor.org/sici?sici=0022-2909%28199423%2938%3A2%3C155%3AMOOAWI%3E2.0.CO%3B2-X Journal of Music Theory is currently published by Yale University Department of Music. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/yudm.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Jul 30 09:19:06 2007 MODELS OF OCTATONIC AND WHOLE-TONE INTERACTION: GEORGE CRUMB AND HIS PREDECESSORS Richard Bass A bifurcated view of pitch structure in early twentieth-century music has become more explicit in recent analytic writings. -
Tonality and Transformation, by Steven Rings. Oxford Studies in Music Theory
Tonality and Transformation, by Steven Rings. Oxford Studies in Music Theory. Richard Cohn, series editor. New York: Oxford University Press, 2011. xiv + 243 pp. ISBN 978-0-19-538427-7. $35 (Hardback).1 Reviewed by William O’Hara Harvard University teven Rings’ Tonality and Transformation is only one entry in a deluge of recent volumes1 in the Oxford Studies in Music Theory series,2 but its extension of the transformational ideas pioneered by S scholars like David Lewin, Brian Hyer, and Richard Cohn into the domain of tonal music sets it apart as a significant milestone in contemporary music theory. Through the “technologies” of transformational theory, Rings articulates his nuanced perspective on tonal hearing by mixing in generous helpings of Husserlian philosophy and mathematical graph theory, and situating the result in a broad historical context. The text is also sprinkled throughout with illuminating methodological comments, which weave a parallel narrative of analytical pluralism by bringing transformational ideas into contact with other modes of analysis (primarily Schenkerian theory) and arguing that they can complement rather than compete with one another. Rings manages to achieve all this in 222 concise pages that will prove both accessible to students and satisfying for experts, making the book simultaneously a substantial theoretical contribution, a valuable exposition of existing transformational ideas, and an exhilarating case study for creative, interdisciplinary music theorizing. [2] Tonality and Transformation is divided into two parts. The first three chapters constitute the theory proper—a reimagining of tonal music theory from the ground up, via the theoretical technologies mentioned above. The final 70 pages consist of four analytical essays, which begin to put Rings’ ideas into practice. -
Hexatonic Cycles
CHAPTER Two H e x a t o n i c C y c l e s Chapter 1 proposed that triads could be related by voice leading, independently of roots, diatonic collections, and other central premises of classical theory. Th is chapter pursues that proposal, considering two triads to be closely related if they share two common tones and their remaining tones are separated by semitone. Motion between them thus involves a single unit of work. Positioning each triad beside its closest relations produces a preliminary map of the triadic universe. Th e map serves some analytical purposes, which are explored in this chapter. Because it is not fully connected, it will be supplemented with other relations developed in chapters 4 and 5. Th e simplicity of the model is a pedagogical advantage, as it presents a circum- scribed environment in which to develop some central concepts, terms, and modes of representation that are used throughout the book. Th e model highlights the central role of what is traditionally called the chromatic major-third relation, although that relation is theorized here without reference to harmonic roots. It draws attention to the contrary-motion property that is inherent in and exclusive to triadic pairs in that relation. Th at property, I argue, underlies the association of chromatic major-third relations with supernatural phenomena and altered states of consciousness in the early nineteenth century. Finally, the model is suffi cient to provide preliminary support for the central theoretical claim of this study: that the capacity for minimal voice leading between chords of a single type is a special property of consonant triads, resulting from their status as minimal perturbations of perfectly even augmented triads. -
An Introduction Via Perspectives on Consonant Triads
Introduction and Basics The Consonant Triad Geometry of Triads Extension of Neo-Riemannian Theory Symmetries of Triads What is Mathematical Music Theory? An Introduction via Perspectives on Consonant Triads Thomas M. Fiore http://www-personal.umd.umich.edu/~tmfiore/ Introduction and Basics The Consonant Triad Geometry of Triads Extension of Neo-Riemannian Theory Symmetries of Triads What is Mathematical Music Theory? Mathematical music theory uses modern mathematical structures to 1 analyze works of music (describe and explain them), 2 study, characterize, and reconstruct musical objects such as the consonant triad, the diatonic scale, the Ionian mode, the consonance/dissonance dichotomy... 3 compose 4 ... Introduction and Basics The Consonant Triad Geometry of Triads Extension of Neo-Riemannian Theory Symmetries of Triads What is Mathematical Music Theory? Mathematical music theory uses modern mathematical structures to 1 analyze works of music (describe and explain them), 2 study, characterize, and reconstruct musical objects such as the consonant triad, the diatonic scale, the Ionian mode, the consonance/dissonance dichotomy... 3 compose 4 ... Introduction and Basics The Consonant Triad Geometry of Triads Extension of Neo-Riemannian Theory Symmetries of Triads Levels of Musical Reality, Hugo Riemann There is a distinction between three levels of musical reality. Physical level: a tone is a pressure wave moving through a medium, “Ton” Psychological level: a tone is our experience of sound, “Tonempfindung” Intellectual level: a tone is a position in a tonal system, described in a syntactical meta-language, “Tonvorstellung”. Mathematical music theory belongs to this realm. Introduction and Basics The Consonant Triad Geometry of Triads Extension of Neo-Riemannian Theory Symmetries of Triads Work of Mazzola and Collaborators Mazzola, Guerino. -
Generalized Tonnetze and Zeitnetz, and the Topology of Music Concepts
June 25, 2019 Journal of Mathematics and Music tonnetzTopologyRev Submitted exclusively to the Journal of Mathematics and Music Last compiled on June 25, 2019 Generalized Tonnetze and Zeitnetz, and the Topology of Music Concepts Jason Yust∗ School of Music, Boston University () The music-theoretic idea of a Tonnetz can be generalized at different levels: as a network of chords relating by maximal intersection, a simplicial complex in which vertices represent notes and simplices represent chords, and as a triangulation of a manifold or other geomet- rical space. The geometrical construct is of particular interest, in that allows us to represent inherently topological aspects to important musical concepts. Two kinds of music-theoretical geometry have been proposed that can house Tonnetze: geometrical duals of voice-leading spaces, and Fourier phase spaces. Fourier phase spaces are particularly appropriate for Ton- netze in that their objects are pitch-class distributions (real-valued weightings of the twelve pitch classes) and proximity in these space relates to shared pitch-class content. They admit of a particularly general method of constructing a geometrical Tonnetz that allows for interval and chord duplications in a toroidal geometry. The present article examines how these du- plications can relate to important musical concepts such as key or pitch-height, and details a method of removing such redundancies and the resulting changes to the homology the space. The method also transfers to the rhythmic domain, defining Zeitnetze for cyclic rhythms. A number of possible Tonnetze are illustrated: on triads, seventh chords, ninth-chords, scalar tetrachords, scales, etc., as well as Zeitnetze on a common types of cyclic rhythms or time- lines. -
MTO 25.1 Examples: Willis, Comprehensibility and Ben Johnston’S String Quartet No
MTO 25.1 Examples: Willis, Comprehensibility and Ben Johnston’s String Quartet No. 9 (Note: audio, video, and other interactive examples are only available online) http://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.willis.html Example 1. Partch’s 5-limit tonality diamond, after Partch (1974, 110) also given with pitch names and cent deviations from twelve-tone equal temperament Example 2. Partch’s 11-limit tonality diamond, after Partch (1974, 159) Example 3. The just-intoned diatonic shown in ratios, cents, and on a Tonnetz Example 4. Johnston’s accidentals, the 5-limit ration they inflect, the target ratio they bring about, their ratio and cent value. As an example of how this table works, take row 11. If we multiply 4:3 by 33:32 it sums to 11:8. This is equivalent to raising a perfect fourth by Johnston’s 11 chroma. Example 5. The overtone and undertone series of C notated using Johnston’s method Example 6. A Tonnetz with the syntonic diatonic highlighted in grey. The solid lines connect the two 5-limit pitches that may be inflected to produce a tonal or tonal seventh against the C. This makes clear why the tonal seventh of C is notated as lowered by a syntonic comma in addition to an inverse 7 sign. It is because the pitch is tuned relative to the D- (10:9), which is a syntonic comma lower than the D that appears in the diatonic gamut. Example 7. Johnston, String Quartet No. 9/I, m. 109. A comma pump progression shown with Roman Numerals and a Tonnetz. -
From Schritte and Wechsel to Coxeter Groups 3
From Schritte and Wechsel to Coxeter Groups Markus Schmidmeier1 Abstract: The PLR-moves of neo-Riemannian theory, when considered as re- flections on the edges of an equilateral triangle, define the Coxeter group S3. The elements are in a natural one-to-one correspondence with the trianglese in the infinite Tonnetz. The left action of S3 on the Tonnetz gives rise to interest- ing chord sequences. We compare the systeme of transformations in S3 with the system of Schritte and Wechsel introduced by Hugo Riemann in 1880e . Finally, we consider the point reflection group as it captures well the transition from Riemann’s infinite Tonnetz to the finite Tonnetz of neo-Riemannian theory. Keywords: Tonnetz, neo-Riemannian theory, Coxeter groups. 1. PLR-moves revisited In neo-Riemannian theory, chord progressions are analyzed in terms of elementary moves in the Tonnetz. For example, the process of going from tonic to dominant (which differs from the tonic chord in two notes) is decomposed as a product of two elementary moves of which each changes only one note. The three elementary moves considered are the PLR-transformations; they map a major or minor triad to the minor or major triad adjacent to one of the edges of the triangle representing the chord in the Tonnetz. See [4] and [5]. C♯ G♯ .. .. .. .. ... ... ... ... ... PR ... ... PL ... A ................E ................ B′ .. .. R.. .. L .. .. ... ... ... ... ... ... ... LR ... ... ∗ ... ... RL ... ( ) ′ F′ ................C ................ G ................ D .. .. P .. .. ... ... ... ... ... LP ... ... RP ... A♭ ................E♭ ................ B♭′ arXiv:1901.05106v3 [math.CO] 4 Apr 2019 Figure 1. Triads in the vicinity of the C-E-G-chord Our paper is motivated by the observation that PLR-moves, while they provide a tool to measure distance between triads, are not continuous as operations on the Tonnetz: Let s be a sequence of PLR-moves. -
MTO 15.1: Lind, an Interactive Trichord Space
Volume 15, Number 1, March 2009 Copyright © 2009 Society for Music Theory Stephanie Lind NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.09.15.1/mto.09.15.1.lind.php KEYWORDS: Pépin, transformational theory, motivic repetition and development, transformational theory, Québécois composers, Canada ABSTRACT: Clermont Pépin’s Toccate no. 3, a work for piano composed in 1961, features extensive repetition and sequencing through the development of smaller atonal intervallic motives. Measures 18–23, in particular, manifest several elements that return repeatedly in the course of the work, and consequently a space defined by the objects and transformations characteristic of this passage can provide a framework for interpreting transformational relations throughout the piece. This paper provides such a space, in an interactive format that allows the reader to explore grouping structure within the passage. The space is then expanded to accommodate later passages involving similar motivic material. Received November 2008 Introduction [1.1] Clermont Pépin (1926–2006), a prolific and influential twentieth-century Canadian composer, incorporates elements from serialism, jazz, and neo-classicism, but like many Québécois composers of his generation also employs the repetition and development of smaller atonal intervallic motives. By interpreting these intervallic motives transformationally (that is, understanding them as a series of transformations rather than as a grouping of pitch classes), motivic repetition can be depicted as a series of moves through a space. The structure of the space, its objects and transformations, and the path through the space all express characteristic elements of the associated musical passage. -
A Tonnetz Model for Pentachords
A Tonnetz model for pentachords Luis A. Piovan KEYWORDS. neo-Riemann network, pentachord, contextual group, Tessellation, Poincaré disk, David Lewin, Charles Koechlin, Igor Stravinsky. ABSTRACT. This article deals with the construction of surfaces that are suitable for repre- senting pentachords or 5-pitch segments that are in the same T {I class. It is a generalization of the well known Öttingen-Riemann torus for triads of neo-Riemannian theories. Two pen- tachords are near if they differ by a particular set of contextual inversions and the whole contextual group of inversions produces a Tiling (Tessellation) by pentagons on the surfaces. A description of the surfaces as coverings of a particular Tiling is given in the twelve-tone enharmonic scale case. 1. Introduction The interest in generalizing the Öttingen-Riemann Tonnetz was felt after the careful analysis David Lewin made of Stockhausen’s Klavierstück III [25, Ch. 2], where he basically shows that the whole work is constructed with transformations upon the single pentachord xC,C#, D, D#, F #y. A tiled torus with equal tiles like the usual Tonnetz of Major and Minor triads is not possible by using pentagons (you cannot tile a torus or plane by regular convex pentagons). Therefore one is forced to look at other surfaces and fortunately there is an infinite set of closed surfaces where one can gather regular pentagonal Tilings. These surfaces (called hyperbolic) are distinguished by a single topological invariant: the genus or arXiv:1301.4255v1 [math.HO] 17 Jan 2013 number of holes the surface has (see Figure 8)1. The analysis2 of Schoenberg’s, Opus 23, Number 3, made clear the type of transfor- mations3 to be used. -
O'gallagher-Buch 02.Indb
5 TABLE OF CONTENTS Play-Along CD Track Listings .................................................. 7 Introduction................................................................ 8 Acknowledgements........................................................... 9 1. Twelve-Tone Music ...................................................... 10 2. The Trichord ........................................................... 13 3. Analysis of Trichord Types ................................................ 15 4. Considerations in Trichordal Improvising .................................... 18 5. The Twelve Basic Rows ................................................... 24 Non-Symmetric Trichords .................................................... 26 6. Trichord 1+2 .......................................................... 27 7. Trichord 1+2 and 2+1 Combinations from the Row ............................. 37 8. Diatonic Applications of Trichord 1+2 ....................................... 40 9. Row 1+2 .............................................................. 50 10. 1+2 Related Rows ...................................................... 71 11. Trichord 1+3 .......................................................... 75 12. Trichord 1+3 and 3+1 Combinations from the Row ............................ 79 13. Diatonic applications of Trichord 1+3....................................... 83 14. Row 1+3 ............................................................. 94 15. Trichord 1+4 .......................................................... 97 16. Trichord 1+4