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.
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Research Article|
October 01 2016
Citation
Jason Yust; Special Collections: Renewing Set Theory. Journal of Music Theory 1 October 2016; 60 (2): 213–262. doi: https://doi.org/10.1215/00222909-3651886
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