I would not want you to suppose that my rejection of Allen Forte's theory of pitch-class sets implies a rejection of the notion that there can be such a thing as a pitch-class set. It is only when one defines everything in terms of pitch-class sets that the concept becomes meaningless.
This is a short interpretation of the quote. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Curabitur nisl mi, vestibulum quis ligula vel, feugiat finibus risus. Integer quam ligula, consectetur eget ante et, posuere laoreet erat.
This is a more detailed analysis of the quote. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Curabitur nisl mi, vestibulum quis ligula vel, feugiat finibus risus. Integer quam ligula, consectetur eget ante et, posuere laoreet erat. Aenean sit amet erat sed elit consectetur tincidunt. Praesent sed quam placerat, egestas magna a, vestibulum nisi. Proin cursus elit lorem, in laoreet tellus tristique eu. Nunc vel tortor luctus, venenatis lectus sit amet, ultricies velit. Proin tincidunt hendrerit elit nec sagittis. Donec ut dictum risus.
Etiam sollicitudin magna vitae neque efficitur, in ullamcorper nibh tempus. Aenean laoreet facilisis ex sit amet vehicula. Vestibulum placerat velit in eleifend feugiat. Nullam vulputate sed odio vel vestibulum. Etiam pellentesque, arcu sed accumsan aliquet, risus neque interdum mauris, non vulputate nulla purus a est. Duis lacus metus, scelerisque ut justo vitae, dignissim ullamcorper massa. Duis tempor pharetra sagittis. Nam et aliquet metus.eet erat.
If... [Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
Every bit of theorizing I've ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
I would not want you to suppose that my rejection of Allen Forte's theory of pitch-class sets implies a rejection of the notion that there can be such a thing as a pitch-class set. It is only when one defines everything in terms of pitch-class sets that the concept becomes meaningless.
Subscribe and get notification from us