Special collections: renewing set theory
dc.contributor.author | Yust, Jason | en_US |
dc.date.accessioned | 2020-01-09T21:04:44Z | |
dc.date.available | 2020-01-09T21:04:44Z | |
dc.date.issued | 2016-10 | |
dc.identifier.citation | Jason Yust. 2016. "Special Collections." Journal of Music Theory, Volume 60, Issue 2, pp. 213 - 262. https://doi.org/10.1215/00222909-3651886 | |
dc.identifier.issn | 0022-2909 | |
dc.identifier.issn | 1941-7497 | |
dc.identifier.uri | https://hdl.handle.net/2144/39071 | |
dc.description.abstract | The discrete Fourier transform on pitch-class sets, proposed by David Lewin and advanced by Ian Quinn, may provide a new lease on life for Allen Forte's idea of a general theory of harmony for the twentieth century based on the intervallic content of pitch-class collections. This article proposes the use of phase spaces and Quinn's harmonic qualities in analysis of a wide variety of twentieth-century styles. The main focus is on how these ideas relate to scale-theoretic concepts and the repertoires to which they are applied, such as the music of Debussy, Satie, Stravinsky, Ravel, and Shostakovich. Diatonicity, one of the harmonic qualities, is a basic concern for all of these composers. Phase spaces and harmonic qualities also help to explain the “scale-network wormhole” phenomenon in Debussy and Ravel and better pinpoint the role of octatonicism in Stravinsky's and Ravel's music. | en_US |
dc.format.extent | 213 - 262 | en_US |
dc.language | en | |
dc.publisher | Duke University Press | en_US |
dc.relation.ispartof | Journal of Music Theory | |
dc.subject | Pitch-class set theory | en_US |
dc.subject | Scale theory | en_US |
dc.subject | Fourier transform | en_US |
dc.subject | Interval function | en_US |
dc.subject | Phase spaces | en_US |
dc.subject | Performing arts and creative writing | en_US |
dc.title | Special collections: renewing set theory | en_US |
dc.type | Article | en_US |
dc.description.version | Accepted manuscript | en_US |
dc.identifier.doi | 10.1215/00222909-3651886 | |
pubs.elements-source | crossref | en_US |
pubs.notes | Embargo: Not known | en_US |
pubs.organisational-group | Boston University | en_US |
pubs.organisational-group | Boston University, College of Fine Arts | en_US |
pubs.organisational-group | Boston University, College of Fine Arts, School of Music | en_US |
pubs.publication-status | Published | en_US |
dc.date.online | 2016-11-02 | |
dc.identifier.mycv | 193265 |
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