CONTENTS

Preface

Chapter 1 Musical Units
1.1 Musical Units in Mozart
1.2 Musical Units in Webern
1.3 Harmonic Groupings
1.4 Primary and Secondary Groupings

Chapter 2 Musical Spaces
2.1 Note Space
2.2 Pitch and Pitch-Class Space
2.3 Interval Space
2.4 Musical Transformations in Pitch Space

Chapter 3 Trichords and Trichord Classes
3.1 Sets and Segments
3.2 The Nacht Trichord
3.3 Musical Transformations in Pitch-Class Space
3.4 Trichords in Normal Form
3.5 Trichords in Prime Form
3.6 Set Symmetry
3.7 Trichord Classes

Chapter 4 The Set-Class Universe
4.1 Normal Form for All Sets
4.2 Prime Form for All Sets
4.3 Z-Relations
4.4 Set Complementation
4.5 The Set-Class Catalog
4.6 Maximal Subsets

Chapter 5 Tonality in Transition
5.1 Source Sets and Centricity
5.2 The Diatonic Source Set
5.3 The Diatonic Modes
5.4 The Octatonic Source Set
5.5 The Whole-Tone Source Set
5.6 The Hexatonic Source Set
5.7 Interval Cycles and Combination Cycles

Chapter 6 Structural Models
6.1 Interval Patterns
6.2 The Wedge Model
6.3 General Inversional Symmetry

Chapter 7 Instrumental Forms
7.1 Formal Functions and Relations
7.2 Simple Sectional Forms
7.3 Sonata Forms
7.4 Fugue
7.5 Theme and Variations
7.6 New Concepts of Organization

Chapter 8 Modern Approaches to Meter and Rhythm
8.1 Rethinking Meters and Metric Structure
8.2 Metric Layering
8.3 Metric Modulation
8.4 Rhythmic Patterns

Chapter 9 The Twelve-Tone Method
9.1 Anton Webern's Song for Voice and Piano, op. 23, no. 2
9.2 The Twelve-Tone Row
9.3 Two Basic Row Transformations
9.4 The INT, and Two More Basic Row Transformations
9.5 The Row Chart
9.6 Exploring the Row Class
9.7 Row Usage in Webern's Song, op. 23, no. 2
9.8 Locating Row Forms

Chapter 10 Twelve-Tone Techniques
10.1 Invariance
10.2 Combinatoriality
10.3 Secondary Sets
10.4 Extensions of the Twelve-Tone Method
10.5 Rotation
10.6 Integral Serialism


Appendix 1: Set-Class List
Appendix 2: Glossary
Appendix 3: Answers to Study Questions
Credits
Index