“Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation…accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'”

— George Perle

Page 42
The Listening Composer

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George Perle 11

American composer 1915–2009

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“In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f”

Jean-Philippe Rameau (1683–1764) French composer and music theorist of the Baroque era

a F major chord
ibid, p. 14.

“The piano is the only keyboard instrument in which one can grandly vary the effects of the harmonics or overtones of a chord at will by balancing the sonority in different ways.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“Here, in the last pages of the "Abegg" Variations, Schumann plays the motto theme A-B-E-G-G (B in German notation is the English Bb) not by sounding the last four notes but by taking them away, one by one, from, the chord of Bb-E-G. This is the first time in history that a melody is signified not by the attack but by the release of a series of notes. The motto, however, ends with a repeated final G. If the motto is played by releasing each successive note, we are faced with a paradox: when the G is released once on the piano, it is no longer there to be released again-the motto is not only unplayable as conceived but unimaginable. Schumann signifies as much by another paradox: he adds accents to the sustained notes.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

“I would not want you to suppose that my rejection of Allen Forte's theory of pitch-class sets implies a rejection of the notion that there can be such a thing as a pitch-class set. It is only when one defines everything in terms of pitch-class sets that the concept becomes meaningless.”

George Perle (1915–2009) American composer

Page 67
See: Allen Forte
The Listening Composer

“.. colors are my notes for fashioning sounds and chords with and against one another.”

Emil Nolde (1867–1956) German artist

as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 35
3 short quotes in which Nolde expresses the evocative power of color, which became with his garden and flower paintings from 1906-07 the chief medium of his art.
undated quotes

“The effortless ease with which his tried vocal chords alternately contrasted the vibrant and tender shades is another special characteristics of Bhimsen’s rendition, capable of capturing the subtlest tones, at once showcasing the aesthetic majesty and grandeur of his exceptionally captivating quality of singing.”

Bhimsen Joshi (1922–2011) Indian vocalist

Critique

“Notwithstanding the eminent difficulties of the mathematical theory of sonorous vibrations, we owe to it such progress as has yet been made in acoustics. The formation of the differential equations proper to the phenomena is, independent of their integration, a very important acquisition, on account of the approximations which mathematical analysis allows between questions, otherwise heterogeneous, which lead to similar equations. This fundamental property, whose value we have so often to recognize, applies remarkably in the present case; and especially since the creation of mathematical thermology, whose principal equations are strongly analogous to those of vibratory motion. This means of investigation is all the more valuable on account of the difficulties in the way of direct inquiry into the phenomena of sound. We may decide the necessity of the atmospheric medium for the transmission of sonorous vibrations; and we may conceive of the possibility of determining by experiment the duration of the propagation, in the air, and then through other media; but the general laws of the vibrations of sonorous bodies escape immediate observation. We should know almost nothing of the whole case if the mathematical theory did not come in to connect the different phenomena of sound, enabling us to substitute for direct observation an equivalent examination of more favorable cases subjected to the same law. For instance, when the analysis of the problem of vibrating chords has shown us that, other things being equal, the number of oscillations is hi inverse proportion to the length of the chord, we see that the most rapid vibrations of a very short chord may be counted, since the law enables us to direct our attention to very slow vibrations. The same substitution is at our command in many cases in which it is less direct.”

Auguste Comte (1798–1857) French philosopher

Bk. 3, chap. 4; as cited in: Moritz (1914, 240)
System of positive polity (1852)

“For Beethoven, music was still shape, realized and inflected by instrumental sonority: other realizations may be as absurd as arrangements of the Hammerklavier, for example, always are, but the musical conception takes precedence over its realization in sound. The sonority serves the music. For Schumann, however, as for Chopin and Liszt, the conception was worked out directly within the sonority as a sculptor works directly in clay or marble. The instrumental sound is shaped into music.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

“Joni's genius is that she creates chords that are ambiguous, chords that have two or more different roots. …Joni's music is as close to impressionist visual art as anything I've heard. …harmonic complexity born out of her strict insistence that the music not be anchored in a single harmonic interpretation.”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

“Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?”

Leonard Cohen (1934–2016) Canadian poet and singer-songwriter

"Hallelujah" - 1984 performance http://www.dailymotion.com/video/x3rwo0_leonard-cohen-hallelujah_music · Montreal Jazz Festival 2008 performance http://www.youtube.com/watch?v=2FpwjQLZTTs
Various Positions (1984)
Context: Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this the fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah

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George Perle 11

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