“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

Pages 42-43
The Listening Composer

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American composer 1915–2009

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“The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i. e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is…from Wagner”

George Perle (1915–2009) American composer

Die Walkure, Act III
Page 96
The Listening Composer

“Z-relation, or rather, "that certain pitch-class collections share the same 'interval vector' even though they are neither transpositionally nor inversionally equivalent was first pointed out by Howard Hanson in Harmonic Materials of Modern Music (New York: Appleton-Century-Crofts, 1960), p. 22, and by David Lewin in "Re: The Intervallic Content of a Collection of Notes," Journal of Music Theory 4:1 (1960). For a general criticism of Forte's concepts of pitch-class set equivalence see Perle, "Pitch-Class Set Analysis: An Evaluation," Journal of Musicology 8:2”

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

“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

“By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs…Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.”

George Perle (1915–2009) American composer

Pages 46-47
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

“If…[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partitionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.”

George Perle (1915–2009) American composer

Page 98
See: Common practice period, Twelve-tone technique
The Listening Composer

“The most likely reason for the adoption of a relatively small number of discrete intervals as the tonal material for music is that discretization or categorization is a typical, if not universal, strategy used by animals in order to reduce information overload and facilitate processing when subjected to the high-information-conetent signals and/or high information rates from a highly developed sensory system (e. g., Estes, 1972; Terhardt, 1991). An obvious example is the processing of speech information by humans, wherein each language selects a relatively small portion of the available timbral-differences that can be produced by the vocal tract as information-carrying units (phonemes) in the language. A related reason for discrete scales, and another obvious analogy with speech perception, lies in the social aspect of music. Music first developed as, and still largely remains, a social phenomenon associated with religious or other rituals that, like language, necessitated an easily remembered common framework.”

Edward Burns (1968) American actor and director

Burns, Edward M. (1999). "Intervals, Scales, and Tuning", 'The Psychology of Music second edition, p. 218. Deutsch, Diana, ed. San Diego: Academic Press. ISBN 0122135644

“When civilization comes to a certain point, the changes in the higher classes are little more than those of fancies and of fashions; but those operating on the classes below are changes of character.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

No.4. Guy Mannering — LUCY BERTRAM.
Literary Remains

“The musical language which made the classical style possible is that of tonality, which was not a massive, immobile system but a living, gradually changing language from its beginning. It had reached a new and important turning point just before the style of Haydn and Mozart took shape.”

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

Part I. Introduction. 1. The Musical Language of the Late Eighteenth Century
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

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