A Primer for Atonal Set Theory

01 October 1991 world. This new theory has its roots in work by Milton Babbitt, Allen Forte, David Lewin, Robert Morris, George Perle, and John Rahn, but it has flowered in many different directions.2 Set theory is not a single language, but a community of local...

Shape/Interval Contours and Their Ordered Transformations: A Motivic Approach to Twentieth-Century Music Analysis and Aural Skills

03 October 2005 and Elizabeth West Marvin and Paul A. Laprade, "Relating Musical Contours." 5This procedure is similar to that used by John Rahn to designate ordered pitch intervals, except that Rahn omits plus signs for ascending intervals. See Rahn, Basic Atonal...

Paying Attention to Music and Baseball: Listening to the Savannah Bananas

13 May 2026 remaining in known territory?”[41] Michel Foucault and Pierre Boulez, “Contemporary Music and the Public,” translated by John Rahn, Perspectives of New Music 24, no. 1 (Autumn -Winter 1985): 10. With tongue in cheek, George Grella implied that...

Logic, Set Theory, Music Theory

01 October 1979 (syntactically) only the one most beautiful analysis, seems to me futile. One man's meat is another man's poi. authors: John Rahn author_ids: 1341 authors: John Rahn author_ids: 1341

A Theory of Pitch-Class-Set Extension in Atonal Music

01 October 2001 Over years of teaching pitch-class-set theory and analysis as part of undergraduate twentieth-century theory courses, I have often reflected (and heard perceptive students remark) on an apparent shortcoming of the system. At that stage of their...

Waging the Peace: Bernard Herrmann and [i]The Day the Earth Stood Still[/i]

01 October 2009 The movie that gave us the phrase, “Klaatu! Barada! Nikto!” is not only an important science-fiction film, but also arguably one of the most significant films of the 1950s. Furthermore, it elevated the emerging genre of cinematic science-fiction above...

[i]Analytic Approaches to Twentieth-Century Music[/i], by Joel Lester

01 October 1990 this section, interval successions are not labeled in the examples and the notion of "most packed left" (to borrow John Rahn's phrase) is not identified. Further, no table of prime forms is given for checking one's work. These omissions prevent students...

A New Learned Society for Music Theory

01 October 1978 Largent, Youngstown State University; Leonard Meyer, University of Pennsylvania; Edward W. Murphy, University of Arizona; John Rahn, University of Washington; Lewis Rowell, University of Hawaii; Thomas S. Turner, University of Iowa; and Peter...

Comprehending Twelve-Tone Music as an Extension of the Primary Musical Language of Tonality

01 October 1984 composition as a "system," see Allen Forte, The Structure of Atonal Music (New Haven: Yale University Press, 1973); John Rahn, Basic Atonal Theory (New York: Longman 1980); and Charles Wuorinen, Simple Composition (New York: Longman, 1979). 36In a...

[i]Idea[/i] and Analysis: Aspects of Unification in Musical Explanation

01 October 1990 "Music as Drama," Music Theory Spectrum 10 (1988), 56-73. A more extensive bibliography and commentary can be found in John Rahn, "New Research Paradigms," Music Theory Spectrum 11/1 (1989), 84-94. 13Because of space constraints, illustrations for the...