WEEK 5: ANOTHER SERIAL PRINCIPLE: SYSTEMATIC RECURSIVE PERMUTATION

IAN SHANAHAN (2002)

Preamble: Todays subject can be viewed as a generalization of the principle of (hexachord)

rotation but being applicable not merely to pitch. Systematic recursive permutation that
generates a cyclic group of permutations extends the basic idea of rotational symmetry into
a more abstract, algebraic cyclicity.

Definition: A permutation, insofar as it is applied within a composition, consists of a specific

rearrangement of an ordered set of musical objects such as durations, pitches, gamuts,
timbres, textural densities, average numbers of attacks, dynamic levels or ranges,
articulations, tempi, or even (non)algorithmic procedures. Precisely the same act of
permutation can then be iterated upon itself over and over again, a finite number of times,
until the original ordered set is attained once more hence we have systematic recursive
permutation. Indeed, this reiterative permutational process generates a set actually, a self-
contained cyclic group of distinct permutations.

Now explain systematic recursive permutation in detail. Use an ad hoc illustration of, say,
17 objects; and carefully explain my symbology { }; [ ]; ( ); <>.

NB: my piece Lines of Light (discussed a few weeks ago) uses two distinct cyclic groups to
reorder harmonic fields and durations (at the sectional and subsectional strata: hence
algebraic self-similarity).

As far as I can tell, this algorithmic technique was originally developed by Olivier Messiaen
during the late 1940s, and first manifests itself in the Offertoire movement from his organ
work Messe de la Pentecte (19491950). Therein, he systematically rearranges a set of 5
chromatic durations into what he calls interversions. {Compare my own usage of
permutation with Messiaens...}

By the way, show how a 12-tone row can be perceived as a permutation of a chromatic scale;
hence demonstrate its cyclic group, as an alternative to the classical 48 forms!

But what does it all mean? Go to the appropriate handout...

Now go to Karlheinz Stockhausens Klavierstck VII {Coda}: go through the handout (alas, I
have no recording).

Now go to my own Zodiac: Crystal Orbit Improvisations. Play it first (listening only!).

Go through its Programme Annotation (as all good analysts should!); explain the pieces
improvisatory cueing structure etc. from the scores Performance Notes (NB: dont forget to
explain epicycles as well as their astronomical origins); go through the accompanying
handout from my PhD, demonstrating the cyclic structure of and also that <> has 60
elements; play the piece again (following the recorder part?).

Now go to Olivier Messiaens Chronochromie {Strophe I and Strophe II}: play them first; go
through the handout, and then begin to look at the overheads of the score (NB: dont forget
to discuss textural units therein).

~1~