ALEGANT Brian |
|
| 1992 | “Abstract”
The Seventy-Seven Partitions of the Aggregate: Analytical and Theoretical Implications dissertation, Eastman School of Music, University of Rochester, New York Music Theory Online, Volume 0, number 2, April, 1993 |
ANDREATTA Moreno |
|
| 2005a | Rapport sur mes recherches en mathématique/musique |
| 2005 | «
Problèmes musicaux et conjectures mathématiques. Essai d’une typologie “mathémusicale” »
Séminaire Musique et mathématiques Equipe Représentations Musicales IRCAM/CNRS UMP 9912, 19 février 2005 |
| 2003c |
Méthodes algébriques en musique et musicologie du XXe siècle : aspects théoriques, analytiques et compositionnels
dir. Alain Poirier, thèse de doctorat soutenue le 12 décembre 2003 Ecole des Hautes Etudes en Sciences sociales disponible sur le site http://recherche.ircam.fr/equipes/repmus/moreno |
| 2001 | « Note de lecture de l’ouvrage de Luigi Verdi : Organizzazione delle altezze nello spazio sonoro temperato »
revue Musurgia 2001, vol. VIII n.3-4, p. 147-150 (en français) |
ANDREATTA Moreno & AGON Carlos |
|
| 2004 | “A tutorial on algebraic-oriented paradigmatic music analysis and composition in OpenMusic visual programming language”
Fourth Open Workshop of MUSICNETWORK, 15th – 16th September 2004, Barcelone |
| 2003d | “Implementing algebraic methods in OpenMusic”
Séminaire MaMuX, décembre 2003 |
| 2003b | «
Formalisation algébrique des structures musicales à l'aide de la Set-Theory : aspects théoriques et analytiques »
Actes des dixièmes Journées d’Informatique musicale Montbeillard, 2003 |
ANDREATTA Moreno & SCHAUB Stéphan |
|
| 2003a | «
Une introduction à la Set-Theory : les concepts à la base des théories d’Allen Forte et de David Lewin »
revue Musurgia 2003, vol. X/1, p. 73-92 (draft version on the Internet) |
APPIA Edmond |
|
| 1965 |
De Palestrina à Bartok. Etudes musicologiques
Paris : Flammarion |
ARIZA Christopher |
|
| 2004 |
athenaCL Tutorial Manual, 1.2.2.
New York University |
| 2000 |
Stravinsky's Verticals as Set Class Similarity Contours
New York University GSAS, New York revised 2002 |
ARNOLD SCHÖNBERG CENTER |
|
| 2003 | “Activities of the Arnold Schönberg Research Center”
Newsletter, Edition 11, August 2003 – February 2004 |
ASHBY Arved |
|
| 2001 |
“Schoenberg, Boulez, and Twelve-Tone Composition as ‘Ideal Type’”
Journal of the American Musicological Society Volume 54, number 3, Fall 2001, pp. 585-625 |
ASSAYAG Gérard & BLOCH Georges |
|
| 1995 | «
Quantification et création musicale »
Colloque Modèles : esthétique, analyse, sémiotique Université des Sciences humaines de Strasbourg, 22 avril 1995 in Les modèles dans l'art, Musique, peinture, cinéma ouvrage collectif sous la direction de M. Grabocz, 1997 Presses universitaires de Strasbourg |
ASTI |
|
| 2003 | «
Théories et concepts »
Association française des sciences et technologies de l'information Hebdo No 129. 20 octobre 2003 |
BAIN Reginald |
|
| 2003 | “Basic Atonal Theory” - Pitch, Interval Measurement & Interval Content
Custom Course Assignments Theory of Twentieth-Century Music, 3. Assignments 1. Custom Course Assignments, Pitch, Interval Measurement & Interval Content University of South Carolina, School of Music |
| 2000 |
“Creating Web-based Applications for Post-Tonal Theory”
Musical Intersections 2000 International Conference ATMI Program, Toronto, Ontario, Canada, Novembre 4, 2000 |
BALL Malcolm |
|
| 2002 | “Some General Charasteristics of Messiaen’s Harmonies” by Allen FORTE
Messiaen 2002 International Conference, 20-23 June 2002, Tapton University of Sheffield presenting Allen FORTE’s “Messiaen’s Chords” to be published in Messiaen: Music, Art and Literature, Spring 2005, London: Ashgate Press in Reviews |
BARNES Larry (Transylvania University) |
|
| 1997 | “Review of J. Kent William’s Theories and Analyses of Twentieth-Century Music”
Music Theory Online, Volume 3, Number 4, July 1997 |
BELKIN Alan |
|
| 2003 | General Principles of Harmony .html / .pdf |
BENT Ian |
|
| 1987 |
Analysis
with a glossary by DRABKIN William The New Grove Handbooks in Music London : The MacMillan Press Ltd |
| 1998 |
L'analyse musicale. Histoire et méthodes
traduction française de Analysis Editions Main d'Œuvre |
BLOOD Brian |
|
| 2002 | “music theory online”
dolmetch online |
BRELET Gisèle |
|
| 1963 | «
Musique contemporaine en France »
dans ENCYCLOPÉDIE DE LA PLÉIADE Histoire de la Musique. Vol. II : Du XVIIIe siècle à nos jours ROLAND-MANUEL, dir. Vol. 2, p. 1091-1275 Gallimard |
BUCHLER Michael H. (University of Iowa School of Music) |
|
| 1998 | “A brief history and critique of interval/subset class vectors and similarity functions”
Relative Saturation of Subsets and Interval Cycles as a Means for Determining Set-Class Similarity, ch. 1 Ph.D. Dissertation, University of Rochester, 1998. |
CASTRÉN Marcus (Sibelius Academy in Helsinki, Finland) |
|
| 2000 | “Pairs of Chords as Objects Illuminating Set-Class Similarity: Some Viewpoints and a Computer-Assisted Procedure to Create Test Materials for Listener Experiments”
electronic journal of music theory and analysis, The Journal of Music Theory Resources Volume 1, Number 1, September 2000 |
CHENETTE Nathan |
|
| 2004 |
Atonal Music Theory and Z / Z12
Mathematics at Harvey Mudd College |
CLAMPITT David |
|
| 1995 | “Report: An International Symposium on Music and Mathematics”
org. Anatol Vieru, John Rahn, and John Clough, on May 29-30, 1994 (Bucarest, Romania) Music Theory Online, Volume 1, Number 1, January, 1995 |
COHEN-LEVINAS Danielle |
|
| 1996 | «
Combinatoire sérielle, maïeutique spectrale : Une généalogie du matériau »
in Musurgia. Analyse et Pratique Musicales, 1996, vol. III, n°3, pp. 81-89 Paris : éditions ESKA |
COLLINS Nick |
|
| 2004 | “An Algorithm for the Direct Generation of Set Class Representatives in Any Pitch Class Space”
Music Theory Online. The Online Journal of the Sociey for Music Theory, Volume 10, Number 3, Septembre 2004 |
| 2002 | “Transposition Invariance and Parsimonious Relation of Z Sets”
unpublished, 2001 revised (publications) |
| 2000 | “An investigation into the existence of Z chords”
in Proceedings for acoustics and Music: Theory an Applications
AMTA 200 Montego Bay, Jamaica, Decembre 20-22, 2000, pp 36-31 on Publications |
| 1999 | “Uniqueness of Pitch Class Spaces, Minimal Bases and Z Partners”
in Proceedings of the Diderot Forum on Mathematics and Music Vienna, p.63-77 on Publications |
DELIÈGE Célestin |
|
| 1989 | « La Set-Theory ou les enjeux de plénonasme » Analyse Musicale 4e trimestre 1989, n° 17, pp. 64-79 |
DEUTSCH Diana (University of California) |
|
| “Tritone Paradox”
Deutsch Musical Illusions UCSD Department of Psychology |
|
| 1999 | “The Processing of Pitch Combinations”
D. Deutsch, Edit in The psychology of music Academic Press, 1999, 349-412 on Biography |
DONIN Nicolas |
|
| 2004 | « Manières d’écouter des sons »
Écoutes signées (Ircam)
in Revue DEMéter, août 2004 Université de Lille |
FISCHER Jerry Cree |
|
| 1975 |
Piano Tuning: a Simple and Accurate Method for Amateurs
New York: Dover Publications reprint of the 1907 ed. Piano tuning, regulating and repairing, published by Theo. Presser, Philadelphia |
FLOIRAT Bernard |
|
| 2001 | « Les
Fonctions structurelles de l'harmonie d'Arnold Schoenberg »
Musurgia. Analyse et Pratique Musicales, 2001, vol. VIII, n° 1, pp. 37-55 Paris : ESKA |
FORTE Allen |
|
| 1995 | “Tristan Redux: Comments on John Rothgeb’s article on the Tristan Chord in MTO 1.1”
Music Theory Online, A Publication of the Society for Music Theory Volume 1, Number 2, March, 1995, |
| 1988 |
“New Approaches to the Linear Analysis of Music”
in JAMS (Journal of the American Musicological Society) XLI, Summer 1988, number 2, pp. 315-348 |
| 1973 |
The Structure of Atonal Music
New Haven and London: Yale University Press |
| 1965 |
“The Structure of Atonal Music: Practical Aspects of a Computer-Oriented Research Project”
Musicology and the Computer. Musicology 1966-2000: A Practical Program Three Symposia Symposium, April 10, 1965, Rockefeller Institute, p. 10-18 Barry S. Brook, Editor New York: The City University of New York Press (American Musicological Society. Greater New York Chapter) |
GOLDMAN Jonathan (McGill University) |
|
| 2001 | Understanding Pierre Boulez’s Anthèmes [1991]: 'Creating a Labyrinth out of Another Labyrinth’
Faculty of Music, Université de Montréal |
HASCHER Xavier (Université Marc-Bloch, Strasbourg) |
|
| 2002a | «
Liszt et les sources de la notion d’agrégat »
Analyse musicale, 43 (juin 2002), 48-56 |
HEADLAM Dave |
|
| 2005a | “Assignement 1”
20th century topics Eastman School of Music Theory Department, Rochester (Syllabus) |
| 2005 |
Set Theory for Atonal Music Set Theory Highlights 20th century topics Eastman School of Music Theory Department, Rochester |
HEFFLEY Mike |
|
| 2000 | “Time is the Essence: Analyzing Free Improvisation”
Mike Heffley's Almatour |
HIESTAND Charles |
|
| 1993 | “Dissertation: The Construction of a Large Orchestral Piece Using Certain Structures, Operations, and Constraints”
dir., John Rahn University of Washington B & C Music Journal last updated 2002 |
HUSSEY William (Roosevelt University) |
|
| 2003 | “Triadic Post-Tonality and Linear Chromaticism in the Music of Dmitri Shostakovich”
Music Theory Online, The Online Journal of the Society for Music Theory Volume 9, Number 1, March, 2003 |
IRCAM |
|
| 2003 | « Colloque international : Autour de la Set Theory »
IRCAM Saison 2003-2004, p. 12 ircam, Centre Pompidou : Paris |
| 2003a |
“Around Set Theory: A French-American Musicological Meeting”
RESONANCES 2003 International Convention on Technologies for Music, October 15-24 2003 Ircam, Centre Pompidou (Paris, France) |
Ircam Music Representation Group |
|
| 2002 | «
American Set Theory et théories du diatonisme »
Séminaire MaMuX : Mathématiques, musique et relations avec d'autres disciplines Première saison, 16 mars 2002 IRCAM |
| 2005 | page web du
Séminaire MaMuX : Mathématiques, musique et relations avec d'autres disciplines
IRCAM |
ISAACSON Eric J. |
|
| 1996 | “Issues in the Study of Similarity in Atonal Music”
Music Theory Online, A Publication of the Society for Music Theory Volume 2, Number 7, November, 1996 |
KELLER Bernhard |
|
| 1994 | « Construction de Z à partir de N »
Groupes et Arithmétique : chapitres choisis, ch. 1 Institut de Mathématiques de Jussieu, Université Pierre et Marie Curie, Paris 6, France sur le site Les-Mathematiques.net |
KELLEY Robert |
|
| 2002 | “Set Theory, The Matrix, and the Twelve-Tone Music”
Introduction to Analysis of Post-Functional ("Atonal") Music Music Theory last updated 2004 |
| 2001 | “Post-Functional Theory Terminology”
Introduction to Post-Functional Music Analysis Music Theory last updated 2004 |
KIVY Peter |
|
| 2001 |
New Essays on Musical Understanding
Oxford : Clarendon Press |
KUUSI Tuire (SIBELIUS ACADEMY) |
|
| 2001 |
Set-Class and Chord: Examining Connection between Theoretical Resemblance and Perceived Closeness
Studia Musica 12 Helsinki |
LATHAM Edward D. |
|
| 1997 |
Review of Ethan Haimo’s Article, “Atonality, Analysis, and the Intentional Fallacy”
Music Theory Spectrum 18.2 (Fall 1996), 167-199 Music Theory Online. The Online Journal of the Society for Music Theory, Volume 3.2 |
McLELLAN Joe |
|
| “Editorial Review”: The Unanswered Question, by Leonard BERNSTEIN | |
LEWIN David |
|
| 1998a | “Subject: Re: Meeus’s reply to my fugue article”
Music Department, Harvard, Cambridge, MA 02138 Music Theory Online Electronic Discussion Forum Society for Music Theory |
| 1980 |
“On Generalized Intervals and Transformations”
Journal of Music Theory, Vol. 24, No. 2 (Autumn, 1980), 243-251 |
LORENZ Ralph |
|
| 2001 | “19-tET in a Renaissance Chanson by Guillame Costeley”
Conference and Festival of Music in Alternate Tunings Microfest 2001, Session 1, April 6 |
LOSADA Catherine |
|
| 2005 | “Terminology and Nomenclature”
Analytical Techniques: basic theoretical concepts for analyzing and understanding the post-tonal music of the twentieth century Music Theory Home Page, MUTH 5315 Texas Tech University, School of Music (syllabus) |
MAGER Don |
|
| 1998 | “The Krenek Sestinas: Elegaic sestinas for Ernst Krenek”
Eclectica magazine, Volume 2, No. 2 January/February, 1998 (eclectica poetry) |
MARIE Jean-Étienne |
|
| 1963 | «
Musique électronique, expérimentale et concrète »
dans ENCYCLOPÉDIE DE LA PLÉIADE Histoire de la Musique. Vol. II : Du XVIIIe siècle à nos jours ROLAND-MANUEL, dir. Gallimard Vol. 2, p. 1418-1467 |
MATH FORUM @ DREXEL (THE) |
|
| 1994 | “Java Set theory Machine”
Math Forum Internet Mathematics Library |
MATHIEU Benoit |
|
| 2002 |
Outils informatiques d'analyse musicale
Sous la direction de Gérard Assayag DEA MIASH, ENST Bretagne, 2002 on Ircam page "Music Representation Group" (Student Reports and Master Thesis) |
MAZZOLA Guerino |
|
| 1996 |
Objective C via Category Theory
MultiMedia Laboratory, Institut für Informatik der Universität Zürich |
MEAD Andrew W. |
|
| 1984 |
“Pedagogically Speaking: A Practical Method for Dealing with Unordered Pitch-Class Collections.”
In Theory Only 7/5-6 (1984), pp. 54-66 |
MESNAGE Marcel |
|
| 2001 | «
Discussion collective du bilan du Séminaire »
Musique, mathématiques et philosophie, intervention, 5 mai 2001 Séminaire Entre temps |
| 1989 | « La
Set-complex Theory : de quels enjeux s'agit-il ? »
Analyse Musicale, 4e trimestre 1989, n° 17, pp. 87-90 |
MILLER Paul (Eastman School of Music) |
|
| 2002 | “Viewing Authors and their Titles”
Music Theory Quiz, page 3 : Review all authors and their works last reviewed: March 2005 |
MORRIS Robert |
|
| 2003 | “Topics in Transformational Theory”
Workshop, June 21-24, 2003 Wayne Alpern, Director Institute on Transformational Theory and Analysis The Institute for Advanced Studies in Music Theory Mannes College of Music, New York |
NICOLAS François |
|
| 2005 | «
Raisonance musique/mathématiques : l’écriture en partage »
Séminaire Musique & mathématiques Ecole normale Supérieure, 19 février 2005 |
| 1998 | «
Schoenberg dans le siècle »
Le temps des musiciens France-Musique, 18 au 22 mai 1998 : 9 h 30 – 12 heures |
| 1989 |
Le Sérialisme
Entretemps on « Bibliographie » de François Nicolas |
| 1988 | «
Traversée du sérialisme »
Les conférences du Perroquet, numéro 16, (Paris, avril 1988) |
OCKELFORD Adam (RNIB, London) |
|
| 2004 | “On similarity, Derivation and the Cognition of Musical Structure”
in Psychology of Music Susan Hallam, Edit. January 2004, vol. 32, n° 1, pp. 23-74 SAGE Publications |
PAS |
|
| 2004 | “Lecture 3. 7.10.2004. II. Combinatorics. 1. Permutations and Combinations”
Probability, Sets and Complex Numbers (SOM104) : Lecture Notes - Lecture 3 J.D. BIGGINS, Head of Department The University of Sheffield, Department of Probability and Statistics |
PERLE George |
|
| 1980 |
The Operas of Alban Berg. Volume 1. Wozzeck
University of California Press repris au catalogue de l'IRCAM, Centre Pompidou (Paris, France) |
POLISHOOK Mark (Central Washington University) |
|
|
“Analytical Techniques II” p.1 “Definitions for Post-Tonal Theory”
Compose@CWU |
|
RAFANELLO Paul & ZEIGLER Tim |
|
| 1995 | “Post-Classical”
the arb, Music, Frequently Asked Questions, v1.3, April 18, 1995 maintained by Malcolm Humes |
RAHN John |
|
| 2004 | Short Professional
Biography
updated 2004 |
| 2002 | “additional remarks”
Music and Mathematics |
| 1994 | “From Similarity to Distance, From Simplicity to Complexity, From Pitches to Intervals, From Description to Causal Explanation”
Music Theory Online, A Publication of the Society for Music Theory Volume 0, Number 9, July, 1994 |
| 1975 | “On Pitch or Rhythm: Interpretations of Orderings Of and In Pitch and Time”
Perspective of New Music, 13, n° 2: 182-204 |
therfcc.org |
|
| “Interval” (article from Wikipedia)
The Real Facts Contribution Company, 4.10 Music, Music Theory, 2 Pitch, Interval, 2. |
|
REY Anne |
|
| 1995 | « L'avant-garde révisée »
Le Monde, 14 avril 1995 (Critique) |
RIGONI Michel |
|
| 1996 | «
Méthodologies de l'analyse de la musique contemporaine : pluralité des esthétiques, multiplicité des analyses »
in Musurgia. Analyse et Pratique Musicales, 1996, vol. III – n°3, pp. 56-80 Paris : éditions ESKA |
RILEY David (University of Connecticut) |
|
| 2005 |
“In a Musical Garden: The Influence of Pitch Class Sets on Form and Long-Range Structural Goals in Toru Takemitsu's Between Tides”
Twentieth annual meeting, The New England Conference of Music Theorists University of Massachusetts – Amherst, April 1-2, 2005 |
RIOTTE André |
|
| 1996 | «
Formalismes, modèles : un nouvel atout pour la composition et l'analyse »
Musurgia. Analyse et Pratique Musicales, 1996, vol. III, n° 3, pp.90-104 Paris : éditions ESKA |
| 1990 |
Formalisation des structures musicales
Contenu des cours dispensés à l'Université Paris 8 de 1978 à 1990 |
ROBERGE Marc-André |
|
| 2003 |
Guide des difficultés de rédaction en musique
date de dernière modification 2004-08-19 |
ROBIN Clint |
|
| 2001 | “Modes Modes Modes”
Theory Forum WholeNote, The On-Line Guitar Community (FretBuzz) |
RUMERY Kenneth |
|
| 2004 | “Set theory”
Composer’s Tools – Twelve-Tone Technique |
SANDVED Kjell B. & coll. |
|
| 1958 |
Le Monde de la Musique
version française de A.-M. Bernard Editions Le Sphinx : Bruxelles |
SCHAFFER John Wm |
|
| 1996 | “Review of Peter Castine's Set Theory Objects: Abstractions for Computer-Aided Analysis and Composition of Serial and Atonal Music”
Music Theory Online, A Publication of the Society for Music Theory, Volume 2.6 |
SCHAUB Stephan |
|
| 2002 | «
La Set Theory comme outil d'analyse. L'analyse du Sacre par Allen Forte »
présentation dans le cadre du séminaire MaMuX de l'Ircam, séance : Outils mathématiques dans l'analyse musicale, 23 Mars 2002 |
SCOTTO Ciro G. |
|
| 2002 | “Transformational Networks, Transpositional Combination, and Aggregate Partitions in Processional by George Crumb”
Music Theory Online, A Publication of the Society for Music Theory Volume 8, Number 3, October 2002 |
SENSEMAN Aaron |
|
| 1999 | “All my life”
Grassroots Music. Guitar Tab |
SERROU Bruno |
|
| 1998 | «
Portrait de Iannis Xenakis »
Actualités Salabert Le Journal, n° 9, 01/1998, p. 3 |
SHUSTER Lawrence (The Graduate Center of the City University of New York) |
|
| 2005 | “Transformational harmony and Voice-Leading in the Canonic Writing of Stravinsky and Webern”
Third Annual Conference, Wilkes University, Wilkes-Barre, Pennsylvania, April 1-2, 2005 |
SIMÕES Carlota (University of Coimbra, Portugal) |
|
| 2002 | “The order of numbers in the Second Viennese School of Music”
Mathematic and Art: Mathematical Visualization in Art and Education, pp. 105-118 (Mathematical Aspects in the Second Viennese School of Music) ARPAM Project, October 2002, p. 105 Ed. Claude P. BRUTTER Booksmatter |
SMITH Matt (Insititue of Technology Blanchardstown, Ireland) |
|
| 2002 | “Pitch Circles – from music theory to computer-based learning tool”
The ITB Journal, (Spring 2002) |
SODERBERG Stephen |
|
| 1998 | “White Note Fantasy”
Music Theory Online, A Publication of the Society for Music Theory Volume 4, Number 3, May, 1998 |
SOLOMON Larry [@] |
|
|
Music Theory and Analysis
Solomon's Music Theory & Composition Resources |
|
| 2002a | “Constructing a Simple Clock Calculator for Music Set Theoretical Analysis”
Introduction to Set Theory, Part I: “Nonlinear Sets” Set Theory Primer |
| 2002b |
“12-Tone Pantonal Composition & Serial or Ordered Sets”
Introduction to Set Theory, Part 2 Set Theory Primer |
| 1998 |
“Nonlinear Sets”
Introduction to Set Theory, Part 1 second edition 2002, rev 2005 Set Theory Primer |
| 1997a | “The Table of Pitch Class Sets”
Analytical Tools second edition 2003, rev 2005, renamed: “The Table of Set Classes” |
| 1997b | “Set Theory Glossary”
Theory second edition 2002 |
| 1997c |
“Set Theoretical Analysis”
in “Nonlinear Sets” Introduction to Set Theory, Part I, Frequently Asked Questions |
| 1996 | “Solomon’s Glossary of Technical Musical Terms”
Glossary: Music Theory |
| 1973 |
Symmetry as a compositionnal determinant
Dissertation, Second edition 2002 (Theory) |
TOMLIN Jay [@] |
|
| All About Set Theory | |
TUCKER Gary R. (Mount Allison University) |
|
| 2000 | A Brief Introduction to Pitch-Class Set Analysis |
| 2001 | new edition |
VERDI Luigi |
|
| 2002 | «
Collections symétriques par transposition : quelques observations »
Séminaire : Mathématiques/Musique et relations avec d'autres disciplines (Atelier : American Set Theory et théories du diatonism) Conservatoire de musique de Adria – Italie on: Luigi Verdi's Lectures |
VIERU Anatol |
|
| 1980 |
Cartea modurilor. De la moduri, spre un model al gîndirii muzicale intervalice.
Bucarest : Editura muzicala. |
WILLIAMS J. Kent |
|
| “Intervals”
Tutorial University of Carolina-Greensboro, School of Music |
|
| 1998 | “A Hypermedia Environment for Exploring Pitch-Class Sets in Bartók’s Mikrokosmos”
University of North Carolina-Greensboro, School of Music Fifth International Conference TDML ejournal, Technological Directions in Music Learning |
© Gracienne Benoit, 2005
![[Logo Termisti]](s_x_logo.gif){kind=logo}