“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.”

Page 67
See: Allen Forte
The Listening Composer

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George Perle11

American composer 1915–2009

George Perle (1915–2009) American composer

1990
Page 67, note 8
See: Musical set theory
The Listening Composer

“Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2”

George Perle (1915–2009) American composer

November 1987
Page 101, note 2
The Listening Composer

“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 (1915–2009) American composer

Page 42
The Listening Composer

“I hope it is clear…that the ways in which pitches represent pitch classes, and the ways pitch classes abstract pitch, must be examined in order to describe any kind of musical sense or progression, and that if one steps back into abstracted considerations derived without respect to such concerns, an understanding of the qualities of musical uniqueness will continue to be suppressed in favor of generalizations, which at best evoke a vague sense of what a piece may be doing, perhaps in common with some other pieces, but not what one piece is doing, all by itself.”

Paul Lansky (1944) American composer

Lansky, Paul (1975). Pitch-Class Consciousness, Perspectives of New Music XIII/2 (Spring-Summer).

“An object which is used to create instances, i. e., a template, description, pattern, or "blueprint" of a category or collection of very similar items. Among other things, a class describes the interface the these items will present to the outside world, i. e., the available and appropriate methods, constants, and exceptions. A class represents an abstraction of the items. A class may itself be parameterized (i. e., it actually represents a family of very closely related classes), in which case we refer to it as a parameterized class. Class is a recursive concept. Specifically, we may define classes as being composed of other classes (i. e., heterogeneous composite classes and homogeneous composite classes), in terms of itself (a recursively defined class), as inheriting characteristics from one or more other classes (i. e., the superclasses of the class), and as providing characteristics to other classes (i. e., the subclasses of the class). In some places, classes are defined as "the set of all instances of a type," and the term "type" is given the above definition for class.”

Edward V. Berard

Source: Essays on object-oriented software engineering (1993), p. 328

“I set myself high standards on the pitch and know I have not always lived up to them this season”

Rio Ferdinand (1978) English association football player

Rio Ferdinand on standardshttp://www.dailytimes.com.pk/default.asp?page=story_6-10-2005_pg10_5]

“The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable significance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.”

George Perle (1915–2009) American composer

Pages 42-43
The Listening Composer

“I hear people say I swing at bad pitches. What is a bad pitch? If I can hit it, it's not a bad pitch.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

As quoted in "SPORTS BEAT: Bucco Ship Needs Clemente's Big Bat" by Wendell Smith in The New Pittsburgh Courier (April 10, 1965), p. 15
Baseball-related, <big><big>1960s</big></big>, <big>1965</big>

“After creating the “political class,” journalists failed to set parameters for person in that class.”

Grace Alele-Williams (1932–2022) mathematician

Source: https://www.vanguardngr.com/2015/03/journalists-not-evaluating-politicians-alele-williams/ Speaking at a meeting organised by Initiative for Moral Rectitude in Society (IMRS).

“Multitude is a class concept. … Class is determined by class struggle. There are, of course, in infinite number of ways that humans can be grouped into classes - hair color, blood type, and so forth - but the classes that matter are those defined by the lines of collective struggle. Race is just as much a political concept as economic class is in this regard. … Class is a political concept, in short, in that a class is and can only be a collectivity that stuggles in common.”

Antonio Negri book Multitude: War and Democracy in the Age of Empire

104
Multitude: War and Democracy in the Age of Empire

“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.”

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George Perle11

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