Abstract
We review the notion of representing music using point sets and argue that such representations are better adapted than sequential representations for matching patterns in unvoiced, polyphonic music, such as keyboard music. Musical transformations such as transposition, inversion, diminution, augmentation and retrograde can be modelled by geometric transformations in pitch-time representations that combine translation with scaling parallel to and reflection in the time axis. We identify eight types of geometric pitch-time representation that use chromatic pitch, morphetic pitch, morph or chroma to represent pitch and either onset time or midtime to represent time. We illustrate how these types of representation allow us to characterise different types of musical transformation. For example, by using midtime instead of onset time, we can precisely characterise certain retrograde relationships; and by using morph and chroma pitch representations we can characterise transformations involving octave displacements and duplications. We present the concept of a transformation class and consider the three specific classes, $F_{\mathrm{2STR}}$, $F_{\mathrm{2STRMod7}}$ and $F_{\mathrm{2STRMod12}}$. We introduce the notion of an inter-pattern transformation graph for a set of patterns, $S$, and a transformation class, $F$. Each vertex in such a graph represents a pattern in $S$ and there is an edge in the graph from pattern $P_1$ to pattern $P_2$ if and only if $P_1$ can be mapped onto $P_2$ by a transformation in $F$. We show, with the aid of such graphs, that the musical relationships between the occurrences of the HAYDN theme in Ravel's Menuet sur le nom d'Haydn can be precisely described in terms of transformations in $F_{\mathrm{2STR}}$, $F_{\mathrm{2STRMod7}}$ and $F_{\mathrm{2STRMod12}}$ within the pitch-time representations considered.
Abstract (translated)
URL
https://arxiv.org/abs/2610.08236
