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pc partitions; we shall forego, however, the somewhat lengthy demonstration of how that number is determined.6 In analytical applications, we shall use partitions to model and explore different segmentations of aggregates in twelve-tone musical textures: if two pcs x and y are in the same (analytical) segment, they will belong to the same partition memberset. Vice versa, we can explore the analytical relevance of a given partition in some twelve-tone composition by examining how it segments an aggregate (or aggregates) in speciï¬c passages. We can segment a musical texture, or evaluate a segmentation that is induced by a partition, by examining whether pitches (representing pitch classes) in a segment share one or more of the following kinds of attributes: duration, attack point, register (registral tessitura) or voice-leading strand membership, serial or lynear derivation, articulation, dynamic level, instrumental identity or timbre in general, formal location (at the beginning, middle, or ending of a phrase or larger section of continuity), and so forth. In later analytical commentary, we shall often not explicitly cite the pertinent segmentation criteria; but those criteria will in general be reasonably clear within the context of the commentary. We shall not explore here the interesting but
Journal of Music Theory – Duke University Press
Published: Jan 1, 1999
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