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A set (pitch set, pitch-class set, set class, set form, set genus, pitch collection) in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.〔Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.〕 A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.〔Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.〕 Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,〔Rahn (1980), 140.〕), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord. A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.〔Wittlich (1975), p.476.〕 ==Serial== In the theory of serial music, however, some authors (notably Milton Babbitt〔See any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.〕) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the ''prime form'' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).〔 A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:〔Wittlich (1975), p.474.〕 B B D E G F G E F C C A Represented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10 The first subset (B B D) being: 0 11 3 prime-form, interval-string = <-1 +4> The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = <-4 +1> mod 12 3 7 6 inverse, interval-string = <+4 -1> mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = <-1 +4> mod 12 0 1 9 inverse, interval-string = <+1 -4> mod 12 + 1 1 1 ------- 1 2 10 Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music. ==Non-serial== (詳細はpitch classes.〔John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.〕 The normal form of a set is the most compact ordering of the pitches in a set.〔Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''.〕 Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed".〔 For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0). Rather than the "original" (untransposed, uninverted) form of the set the prime form may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.〔Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''.〕 Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"〔Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.〕). However, these only differ in five instances〔 and are the result of different algorithms (Rahn's being preferred by programmers).〔Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.〕 抄文引用元・出典: フリー百科事典『 (詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディア（Wikipedia）』 ■(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディアで「A '''set''' ('''pitch set''', '''pitch-class set''', '''set class''', '''set form''', '''set genus''', '''pitch collection''') in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,Rahn (1980), 140.), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord.A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.Wittlich (1975), p.476.==Serial==In the theory of serial music, however, some authors (notably Milton BabbittSee any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the '''''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.」の詳細全文を読む A set (pitch set, pitch-class set, set class, set form, set genus, pitch collection) in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.〔Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.〕 A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.〔Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.〕 Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,〔Rahn (1980), 140.〕), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord. A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.〔Wittlich (1975), p.476.〕 ==Serial== In the theory of serial music, however, some authors (notably Milton Babbitt〔See any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.〕) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the ''prime form'' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).〔 A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:〔Wittlich (1975), p.474.〕 B B D E G F G E F C C A Represented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10 The first subset (B B D) being: 0 11 3 prime-form, interval-string = <-1 +4> The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = <-4 +1> mod 12 3 7 6 inverse, interval-string = <+4 -1> mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = <-1 +4> mod 12 0 1 9 inverse, interval-string = <+1 -4> mod 12 + 1 1 1 ------- 1 2 10 Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music. ==Non-serial== (詳細はpitch classes.〔John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.〕 The normal form of a set is the most compact ordering of the pitches in a set.〔Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''.〕 Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed".〔 For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0). Rather than the "original" (untransposed, uninverted) form of the set the prime form may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.〔Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''.〕 Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"〔Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.〕). However, these only differ in five instances〔 and are the result of different algorithms (Rahn's being preferred by programmers).〔Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.〕 抄文引用元・出典: フリー百科事典『 (詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディア（Wikipedia）』 ■(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディアで「A '''set''' ('''pitch set''', '''pitch-class set''', '''set class''', '''set form''', '''set genus''', '''pitch collection''') in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,Rahn (1980), 140.), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord.A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.Wittlich (1975), p.476.==Serial==In the theory of serial music, however, some authors (notably Milton BabbittSee any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the '''''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.」の詳細全文を読む A set (pitch set, pitch-class set, set class, set form, set genus, pitch collection) in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.〔Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.〕 A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.〔Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.〕 Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,〔Rahn (1980), 140.〕), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord. A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.〔Wittlich (1975), p.476.〕 ==Serial== In the theory of serial music, however, some authors (notably Milton Babbitt〔See any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.〕) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the ''prime form'' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).〔 A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:〔Wittlich (1975), p.474.〕 B B D E G F G E F C C A Represented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10 The first subset (B B D) being: 0 11 3 prime-form, interval-string = <-1 +4> The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = <-4 +1> mod 12 3 7 6 inverse, interval-string = <+4 -1> mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = <-1 +4> mod 12 0 1 9 inverse, interval-string = <+1 -4> mod 12 + 1 1 1 ------- 1 2 10 Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music. ==Non-serial== (詳細はpitch classes.〔John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.〕 The normal form of a set is the most compact ordering of the pitches in a set.〔Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''.〕 Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed".〔 For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0). Rather than the "original" (untransposed, uninverted) form of the set the prime form may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.〔Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''.〕 Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"〔Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.〕). However, these only differ in five instances〔 and are the result of different algorithms (Rahn's being preferred by programmers).〔Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.〕 抄文引用元・出典: フリー百科事典『 ''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディア（Wikipedia）』 ■(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディアで「A '''set''' ('''pitch set''', '''pitch-class set''', '''set class''', '''set form''', '''set genus''', '''pitch collection''') in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,Rahn (1980), 140.), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord.A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.Wittlich (1975), p.476.==Serial==In the theory of serial music, however, some authors (notably Milton BabbittSee any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the '''''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.」の詳細全文を読む ■(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディアで「A '''set''' ('''pitch set''', '''pitch-class set''', '''set class''', '''set form''', '''set genus''', '''pitch collection''') in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,Rahn (1980), 140.), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord.A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.Wittlich (1975), p.476.==Serial==In the theory of serial music, however, some authors (notably Milton BabbittSee any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the '''''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.」の詳細全文を読む ■''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.">ウィキペディアで「A '''set''' ('''pitch set''', '''pitch-class set''', '''set class''', '''set form''', '''set genus''', '''pitch collection''') in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.A set by itself does not necessarily possess any additional structure, such as an ordering. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis.Morris, Robert (1987). ''Composition With Pitch-Classes: A Theory of Compositional Design'', p.27. Yale University Press. ISBN 0-300-03684-1.Two-element sets are called dyads, three-element sets trichords (occasionally "triads", though this is easily confused with the traditional meaning of the word triad). Sets of higher cardinalities are called tetrachords (or tetrads), pentachords (or pentads), hexachords (or hexads), heptachords (heptads or, sometimes, mixing Latin and Greek roots, "septachords"—e.g.,Rahn (1980), 140.), octachords (octads), nonachords (nonads), decachords (decads), undecachords, and, finally, the dodecachord.A time-point set is a duration set where the distance in time units between attack points, or time-points, is the distance in semitones between pitch classes.Wittlich (1975), p.476.==Serial==In the theory of serial music, however, some authors (notably Milton BabbittSee any of his writings on the twelve-tone system, virtually all of which are reprinted in ''The Collected Essays of Milton Babbitt'', S. Peles et. al, eds. Princeton University Press, 2003. ISBN 0-691-08966-3.) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve-tone row) used to structure a work. These authors speak of "twelve tone sets", "time-point sets", "derived sets", etc. (See below.) This is a different usage of the term "set" from that described above (and referred to in the term "set theory"). For these authors, a ''set form'' (or ''row form'') is a particular arrangement of such an ordered set: the '''''prime form''''' (original order), inverse (upside down), retrograde (backwards), and retrograde inverse (backwards and upside down).A derived set is one which is generated or derived from consistent operations on a subset, for example Webern's ''Concerto'', Op.24, in which the last three subsets are derived from the first:Wittlich (1975), p.474. B B D E G F G E F C C ARepresented numerically as the integers 0 to 11: 0 11 3 4 8 7 9 5 6 1 2 10The first subset (B B D) being: 0 11 3 prime-form, interval-string = The second subset (E G F) being the retrograde-inverse of the first, transposed up one semitone: 3 11 0 retrograde, interval-string = mod 12 3 7 6 inverse, interval-string = mod 12 + 1 1 1 ------ = 4 8 7 The third subset (G E F) being the retrograde of the first, transposed up (or down) six semitones: 3 11 0 retrograde + 6 6 6 ------ 9 5 6 And the fourth subset (C C A) being the inverse of the first, transposed up one semitone: 0 11 3 prime form, interval-vector = mod 12 0 1 9 inverse, interval-string = mod 12 + 1 1 1 ------- 1 2 10Each of the four trichords (3-note sets) thus displays a relationship which can be made obvious by any of the four serial row operations, and thus creates certain invariances. These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.==Non-serial== Normal form (music) and Prime form (music) redirect directly here.-->(詳細はSet theory (music)を参照)The fundamental concept of a non-serial set is that it is an unordered collection of pitch classes.John Rahn, ''Basic Atonal Theory'' (New York: Longman; London and Toronto: Prentice Hall International, 1980), pp.27–28. ISBN 0-582-28117-2 (Longman); ISBN 0-02-873160-3 (Prentice Hall International). Reprinted 1987 (New York: Schirmer Books; London: Collier Macmillan, 1980), p.27. ISBN 0-02-873160-3.The '''normal form''' of a set is the '''most compact''' ordering of the pitches in a set.Tomlin, Jay. ("All About Set Theory: What is Normal Form?" ), ''JayTomlin.com''. Tomlin defines the "most compact" ordering as the one where, "the largest of the intervals between any two consecutive pitches is between the first and last pitch listed". For example, the set (0,2) (a major second) is in normal form while the set (0,10) (a minor seventh, the inversion of a major second) is not, its normal form being (10,0).Rather than the "original" (untransposed, uninverted) form of the set the '''prime form''' may be considered either the normal form of the set or the normal form of its inversion, whichever is more tightly packed.Tomlin, Jay. ("All About Set Theory: What is Prime Form?" ), ''JayTomlin.com''. Forte (1973) and Rahn (1980) both list the prime forms of a set as the most left-packed possible version of the set. Forte packs from the left and Rahn packs from the right ("making the small numbers smaller," versus making, "the larger numbers ... smaller"Nelson, Paul (2004). "(Two Algorithms for Computing the Prime Form )", ''ComposerTools.com''.). However, these only differ in five instances and are the result of different algorithms (Rahn's being preferred by programmers).Tsao, Ming (2007). ''Abstract Musical Intervals: Group Theory for Composition and Analysis'', p.99, n.32. ISBN 9781430308355. Algorithms given in Morris, Robert (1991). ''Class Notes for Atonal Music Theory'', p.103. Frog Peak Music.」の詳細全文を読む スポンサード リンク
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