Woodwind.OrgThe Fingering ForumThe C4 standard

 
 
 New Topic  |  Go to Top  |  Go to Topic  |  Search  |  Help/Rules  |  Smileys/Notes  |  Log In   Newer Topic  |  Older Topic 
 pitch class set theory
Author: D 
Date:   2004-05-17 00:21

if anyone knows about pitch class set theory, could u email me
littledb2001@netscape.net
i'm having troubble w/ my report on it

Reply To Message
 
 RE: pitch class set theory
Author: Amanda 
Date:   2004-05-21 00:50

What do you need to know? I can help you, but I need to know what you don't understand.

Reply To Message
 
 RE: pitch class set theory
Author: D 
Date:   2004-05-21 23:19

hi i need some more ideas for my report. i have covered basics like prime/normal etc.. sets and stuff like transposition, interval vectors, inversion and the matrix. i was wwondering if you have any other idea of what to write about i have 7 pages and i need 3 more
thanks

Reply To Message
 
 RE: pitch class set theory
Author: Amanda 
Date:   2004-05-23 01:49

If you haven't already, I would use musical examples. Music by Schoenberg can be particularly helpful. His use of set theory is what ties his music together when tonality and form don't.

Is this paper on things you've covered in class? Or is it a research paper?

Reply To Message
 
 RE: pitch class set theory
Author: D 
Date:   2004-05-25 00:20

its research, ok thats a good idea i'll do that, isn't a love surpream by cultrane in one set class too?
thanks
D

Reply To Message
 
 RE: pitch class set theory
Author: Amanda 
Date:   2004-05-25 15:49

I'm not sure about Coltrane. . . personally I would concentrate on "classical" composers, especially Schoenberg. This is where set theory gained most prominence. One piece I would start with is his Klavierstucke Op. 11, No. 1. Find a score for this and figure out what pitch sets (try three-note groups, like the opening B-G#-G) he uses a lot, and how he uses them. Does he have a theme or motive in this piece, or is the set the motive? How does he treat this throughout the music?

Set theory is difficult to discuss, in my opinion, especially compared to twelve-tone music and integrated serialism, because there are so few rules governing the practice.

Let me know how your paper goes!

Reply To Message
 
 RE: pitch class set theory
Author: D 
Date:   2004-05-26 04:45

thanks alot, i agree it is hard to discuss and even though there seems to be like a lot of rules, there is really just interval relations and the rest is kind of just facts, the idea of schoenberg puts it into perspective for me and having a real example gives a good 3 pages to work around and add depth to my paper. ill let u know how i do, thanks
D

Reply To Message
 Avail. Forums  |  Threaded View   Newer Topic  |  Older Topic 


 Avail. Forums  |  Need a Login? Register Here 
 User Login
 User Name:
 Password:
 Remember my login:
   
 Forgot Your Password?
Enter your email address or user name below and a new password will be sent to the email address associated with your profile.
Search Woodwind.Org

Sheet Music Plus Featured Sale

The Clarinet Pages
For Sale
Put your ads for items you'd like to sell here. Free! Please, no more than two at a time - ads removed after two weeks.

 
     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact charette@woodwind.org