| Pitch in tonal and nontonal music |
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Tonal: A hierarchy named by letter names and keys
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nontonal: No hierarchy. The pitches are now numbers
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motive:
Tonality vs. Atonality
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Tonal: interaction with harmony and voice leading- hierarchies and tendencies
Non-tonal: still important, but no pitch language- intervalic construction super important
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Pitch names in non-tonal music
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Interval class: numbers
No scales, no hierarchies
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a non-tonal motive
Set of intervals that serve as motific value
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| not having a steady beat/no hierarchy of beats |
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| Term coined by Messiaen, involves “cramming an extra subdivision such as an etra 16th to a beat” |
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| A variety of adjacent measures with changing meters |
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Several “numerators” over a single “denominator”
Example 8+5/8
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| different parts of music occur in contrasting meter |
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| Immediate change in temp by reinterpretting an equivilent note value |
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| No sense of meter (as we know it) exists- as if totally absent- whether no meter is readable or written meter is not percievable |
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Determined by:
Spacing
Register
Rhythm
Tone color
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| Layered textures, new “single line,” and timbral explorations |
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| New perception of the “single Line” |
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Extreme registral shifts
changing timbres
changing dynamics
varying articulations
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New combinations of instruments
New techniques
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| Still used in the 20th century. Includes sonatas, symphonies, string quartet, theme and variations, etc. |
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| Formal Symmetry between the movements of a piece: Fast sonata, scherzo/trio, slow ABA, Scherzo/trio, fast sonata |
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| Transformations of old forms |
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| may lengthen or shorten pieces while using traditional formal structures |
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Collage: juxtaposing and layering musical textures and matierials
Continuous variation: thematic materials appear once and new materials are developed
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| Numbered 1-11 by half steps |
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Fixed: C=0 always
Movable: changes depending on scenario
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| Subtract lower pitch class from the higher one to get interval |
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| Includes interval and all its likes: including its complement and all compound intervals |
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a group of disparate pitch classes
repeated notes don’t count
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between 1 and 12 pitch classes;
Usually between 3 and 10
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| pitch class set with 3 pitches |
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| pitch class set containing 4 pitches |
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| pitch class set with 5 pitches |
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| pitch class set containing 6 pitch classes |
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| pitch class set containing 8 pitches |
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| a pitch class set containing 7 pitches |
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| Move each pitch class up the given interval |
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| replace each interval with its complement |
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Lowest Ordering
(normal order, best normal order)
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| Standard name for a pitch-class set… like root position |
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| Shows the intervalic content of a pitch class-set |
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| Inversionally symmetrical set |
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| pitch class set that retains pitch classes when inverted |
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| A smaller set derived from a larger set |
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| 2 sets that share an interval class vector |
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categorizes sets according to idiosyncrasies
contains 3 pieces of info
Number of pitches in a set
categorized number and
possibly a z indicating that it has a z relation to another set
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Aggregate
(in pitch class set theory)
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| The presentation of all 12 pitch classes |
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| serves as like a scale in traditional theory |
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PCS based on fifths
(traditional diatonic scale without implied hierarchies)
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| all twelve pitches presenting more than one row using combinatoriality |
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| a trichord, heptachord or other pattern from which a row is derived |
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