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This article may need to be rewritten to comply with Wikipedia's quality
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suggestions. (March 2014)
Cyclic set
(sum 9) from Berg's Lyric Suite
"Klumpenhouwer's idea, both simple and profound in its implications, is to allow
inversional, as well as transpositional, relations into networks like those of Figure
1,"[1] showing an arrow down from B to F♯ labeled T7, down from F♯ to A labeled T3, and
back up from A to B, labeled T10 which allows it to be represented by Figure 2a, for
example, labeled I5, I3, and T2.[1] In Figure 4 this is (b) I7, I5, T2 and (c) I5, I3, T2.
See also[edit]
Interval class
Isography
Similarity relation
Tone row
Transformation (music)
Lewin's Transformational theory.
Prolongation
Further reading[edit]
in Generalized Musical Intervals and Transformations (New Haven and
London: Yale University Press, 1987), 159–160, David Lewin discusses "a
related network involving pitches and pitch intervals, rather than pitch classes
and pc interval".[13]
Donald Martino (1961), "The Source Set and
Its Aggregate Formations", Journal of Music Theory 5, no. 2 (Fall): 224–273.
Allen Forte, The Structure of Atonal Music (New Haven: Yale University
Press, 1973).
John Rahn, Basic Atonal Theory (New York and London: Longman's, 1980).[14]
Roeder, John (1989). "Harmonic Implications of Schönberg's Observations of
Atonal Voice Leading", Journal of Music Theory 33, no. 1 (Spring): 27–62.[15]
Morris, Robert (1987). Composition with Pitch Classes, p. 167. New Haven
and London: Yale University Press. ISBN 0-300-03684-1. Discusses
automorphisms.[9]
References[edit]
1. ^ Jump up to:a b c Lewin, David (1990). "Klumpenhouwer Networks and Some Isographies That
Involve Them", p. 84, Music Theory Spectrum, vol. 12, no. 1 (Spring), pp. 83–120.
2. ^ Jump up to:a b Perle, George (1993). "Letter from George Perle", Music Theory Spectrum,
vol. 15, no. 2 (Autumn), pp. 300–303.
3. ^ Perle, George (1996). Twelve-Tone Tonality, p. 21. ISBN 0-520-20142-6.
4. ^ Lewin, David (1994). "A Tutorial on Klumpenhouwer Networks, Using the Chorale in
Schoenberg's
5. ), p. 87.
6. ^ Jump up to:a b c d e f Lewin (1990), p. 88.
7. ^ Lewin (1990, 84); Klumpenhouwer (1991, 329). cited in Klumpenhouwer (1994), p. 222.
8. ^ Jump up to:a b Lewin (1990, 86).
9. ^ Jump up to:a b Lewin (1990, 92).
10. ^ Klumpenhouwer (1991), p. 320. citing David Lewin (1988), Generalized Musical Intervals
and Transformations. (New Haven: Yale University Press), 154–244.
11. ^ Klupenhouwer (1991), p. 322.
12. ^ Lewin (1990), p. 83.
13. ^ Klumpenhouwer, Henry (1991). "Aspects of Row Structure and Harmony in Martino's
Impromptu Number 6", p. 318n1, Perspectives of New Music, vol. 29, no. 2 (Summer), pp.
318–354.
14. ^ cited in Klumpenhouwer (1991), p. 354: "Roeder is mostly, though not exclusively,
interested in common-tone relations between pairs of chords whose constitutive pitches are
related in ways he formalizes from remarks in Schönberg's Harmonielehre."
Category:
Post-tonal music theory
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