Английская Википедия:"Ode-to-Napoleon" hexachord
Шаблон:Short description Шаблон:Infobox chord Шаблон:Stack
In music, the "Ode-to-Napoleon" hexachord (also magic hexachord[1] and hexatonic collection[2] or hexatonic set class)[3] is the hexachord named after its use in the twelve-tone piece Ode to Napoleon Buonaparte Op. 41 (1942) by Arnold Schoenberg (setting a text by Byron). Containing the pitch-classes 014589 (C, CШаблон:Music, E, F, GШаблон:Music, A) it is given Forte number 6–20 in Allen Forte's taxonomic system.[4] The primary form of the tone row used in the Ode allows the triads of G minor, EШаблон:Music minor, and B minor to easily appear.[5]Шаблон:Failed verification
The "Ode-to-Napoleon" hexachord is the six-member set-class with the highest number of interval classes 3 and 4[6] yet lacks 2s and 6s.[7] 6-20 maps onto itself under transposition three times (@0,4,8) and under inversion three times (@1,4,9) (six degrees of symmetry), allowing only four distinct forms, one form overlapping with another by way of an augmented triad or not at all, and two augmented triads exhaust the set as do six minor and major triads with roots along the augmented triad.[7] Its only five-note subset is 5-21 (0,1,4,5,8), the complement of which is 7-21 (0,1,2,4,5,8,9), the only superset of 6-20.[8] The only more redundant hexachord is 6-35.[7] It is also Ernő Lendvai's "1:3 Model" scale and one of Milton Babbitt's six all-combinatorial hexachord "source sets".[7]
The hexachord has been used by composers including Bruno Maderna and Luigi Nono, such as in Nono's Variazioni canoniche sulla serie dell'op. 41 di Arnold Schönberg (1950),[6] Webern's Concerto, Op. 24, Schoenberg's Suite, Op. 29 (1926), Babbitt's Composition for Twelve Instruments (1948) and Composition for Four Instruments (1948) third and fourth movements.[7]Шаблон:Dubious The hexachord has also been used by Alexander Scriabin and Béla Bartók but is not featured in the music of Igor Stravinsky.[7]
It is used combinatorially in Schoenberg's Suite:[9]
P3: EШаблон:Music G FШаблон:Music BШаблон:Music D B // C A AШаблон:Music E F DШаблон:Music I8: GШаблон:Music E F DШаблон:Music A C // B D EШаблон:Music G FШаблон:Music BШаблон:Music
Note that its complement is also 6-20.
References
Шаблон:Reflist Sources
- Lewin, David (1959). "Re: Intervallic Relations Between Two Collections of Notes". Journal of Music Theory 3, no. 2 (November): 298–301.
Further reading
- Baker, James M. (1986). The Music of Alexander Scriabin, p. 214. New Haven: Yale University Press. Шаблон:ISBN. Cited in Van den Toorn (1996), pp. 128–129.
- Rahn, John (1980). Basic Atonal Theory, p. 91. New York: Longman. Шаблон:ISBN.
- Wason, Robert W. (1988). "Tonality and Atonality in Frederic Rzewski's Variations on "The People United Will Never Be Defeated!", Perspectives of New Music 26, no. 1. Cited in Van den Toorn (1996), pp. 128–129.
Шаблон:Arnold Schoenberg Шаблон:Pitch segments
- ↑ Friedmann, Michael L. (1990). Ear Training for Twentieth-Century Music, p. 198. Шаблон:ISBN.
- ↑ Straus, Joseph N. (2004). Introduction to Post-Tonal Theory, p. 97. Шаблон:ISBN.
- ↑ Music Theory Society of New York State (2000). Theory and Practice, vol. 25, p. 89.
- ↑ Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts, p. 109. Шаблон:ISBN.
- ↑ Palmer, John. [[[:Шаблон:Allmusic]] "Ode to Napoleon Buonaparte, for narrator, piano & strings, Op. 41"], AllMusic.com.
- ↑ 6,0 6,1 Neidhöfer, Christoph (2007). "Bruno Maderna's Serial Arrays", Society for Music Theory. vol. 13, no. 1, March 2007.
- ↑ 7,0 7,1 7,2 7,3 7,4 7,5 Ошибка цитирования Неверный тег
<ref>; для сносокToornне указан текст - ↑ Friedmann (1990), p. 104.
- ↑ Van den Toorn (1996), p. 132.
