In music a time point or timepoint (point in time) is "an instant, analogous to a geometrical point in space".[1] Because it has no duration, it literally cannot be heard,[2] but it may be used to represent "the point of initiation of a single pitch, the repetition of a pitch, or a pitch simultaneity",[3] therefore the beginning of a sound, rather than its duration. It may also designate the release of a note or the point within a note at which something changes (such as dynamic level).[4] Other terms often used in music theory and analysis are attack point[5] and starting point.[6]Milton Babbitt calls the distance from one time point, attack, or starting point to the next a time-point interval,[7] independent of the durations of the sounding notes which may be either shorter than the time-point interval (resulting in a silence before the next time point), or longer (resulting in overlapping notes). Charles Wuorinen shortens this expression to just time interval.[8] Other writers use the terms attack interval,[5] or (translating the German Einsatzabstand), interval of entry,[9]interval of entrance,[10] or starting interval.[11]
Half time: the snare moves to beats 3 of measure one and two (beats 3 & 7) while the hi-hat plays only on the quarter notes. Also, the quarter notes 'sound like' eighth notes in one giant measure.
The corresponding term used in acoustics and audio engineering to describe the initiation of a sound is onset, and the interonset interval or IOI is the time between the beginnings or attack points of successive events or notes, the interval between onsets, not including the duration of the events.[12] A variant of this term is interval of onset.[13]
For example, two sixteenth notes separated by dotted eighth rest, would have the same interonset interval as between a quarter note and a sixteenth note:
Division of the measure/chromatic scale, followed by pitch/time-point series
In serial music a time-point set, proposed in 1962 by Milton Babbitt,[14] is a temporal order of pitches in a tone row which indicates the instants at which the notes start. This has certain advantages over a duration scale or row built from multiples of a unit,[15] derived from Olivier Messiaen.[16]
since duration is a measure of distance between time points, as interval is a measure of distance between pitch points, we begin by interpreting interval as duration. Then, pitch number is interpretable as the point of initiation of a temporal event, that is, as a time-point number.
For example, a measure may be divided into twelve metrical positions. In 3 4 this equals sixteenth notes. The start of each position, or time point, may then be labeled, in order, 0–11. Pitches may then be assigned locations within measures according to their pitch set number, now their pitch/time-set number. In Babbitt's first example he shows subsequent numbers which ascend (0–11) as within the same measure (if four follows three it may sound immediately), and subsequent numbers which descend as in the following measure (if three follows four it must necessarily wait for the next appearance of time-point three).[17]
Babbitt uses time points in Partitions (1957), All Set (1957), and Post-Partitions (1966),[18] as well as in Phonemena (1969–70), String Quartets No. 3 (1969–70) and No. 4 (1970), Arie da capo (1974), My Ends Are My Beginnings (1978), and Paraphrases (1979).[19]
1 2 Lejaren Hiller and Ramon Fuller, "Structure and Information in Webern's Symphonie, Op. 21", Journal of Music Theory 11, no. 1 (Spring 1967): 60–115. Citation on p.94.
↑ Hubert S. Howe, Jr., Electronic Music Synthesis: Concepts, Facilities, Techniques (New York: W. W. Norton, 1975): p.28
↑ Armin Klammer, "Webern's Piano Variations, Op. 27, 3rd Movement", translated by Leo Black, Die Reihe 2: "Anton Webern" (English edition, 1958): 81–92, citations on pp.81, 82, 86; Karlheinz Stockhausen, "Structure and Experiential Time", translated by Leo Black, Die Reihe 2: "Anton Webern" (English edition, 1958): 64–74, citation on p.64; Richard Toop, Six Lectures from the Stockhausen Courses Kürten 2002 (Kürten: Stockhausen-Verlag, for the Stockhausen Foundation for Music, 2005): 30, ISBN3-00-016185-6.
↑ Pascal Decroupet, "Rhythms—Durations—Rhythmic Cells—Groups, Concepts of Microlevel Time-Organisation in Serial Music and Their Consequences on Shaping Time on Higher Structural Levels", in Unfolding Time: Studies in Temporality in Twentieth-century Music, Geschriften van het Orpheus Instituut 8, edited by Marc Delaere and Darla Crispin, 69–94 (Louvain: Leuven University Press, 2009): p.85. ISBN9789058677358.
↑ Dieter Schnebel, "Epilogue", translated by Sharmila Bose, in Stockhausen in Calcutta, selected by Hans-Jürgen Nagel, pp.1–5 (Calcutta: Seagull Books, 1984): 2.
1 2 London, Justin (2004). Hearing in Time: Psychological Aspects of Musical Meter, p. 4. ISBN978-0-19-974437-4.
↑ John MacKay, "On the Perception of Density and Stratification in Granular Sonic Textures: An Exploratory Study", Interface 13 (1984): 171–186. Citation on p. 185.
1 2 Mead, Andrew (1987) "About About Time's Time: A Survey of Milton Babbitt's Recent Rhythmic Practice", Perspectives of New Music 25, nos. 1–2 (Winter/Summer 1987): 182–235. Citations on pp. 187–189, 192–193, 195–197, 200–205, 215, and 225–230.
Kramer, Jonathan D. (1988). The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York; London: Schirmer; Collier Macmillan. ISBN0-02-872590-5.
Atonality in its broadest sense is music that lacks a tonal center, or key. Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. More narrowly, the term atonality describes music that does not conform to the system of tonal hierarchies that characterized European classical music between the seventeenth and nineteenth centuries. "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments".
In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions, such as duration, dynamics, and timbre.
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.
Kreuzspiel (Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951. It is assigned the number 1/7 in the composer's catalogue of works.
A set 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.
Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in 1970 and premiered in autumn of the same year at the Donaueschingen Festival. The work is scored for two ring-modulated pianos; each player is also equipped with a chromatic set of crotales and a wood block, and one player is equipped with a short-wave radio producing morse code or a magnetic tape recording of morse code. In his catalogue of works, the composer designated it as work number 32.
In music, moment form is defined as "a mosaic of moments", and, in turn, a moment is defined as a "self-contained (quasi-)independent section, set off from other sections by discontinuities".
Composition for Four Instruments (1948) is an early serial music composition written by American composer Milton Babbitt. It is Babbitt's first published ensemble work, following shortly after his Three Compositions for Piano (1947). In both these pieces, Babbitt expands upon the methods of twelve-tone composition developed by Arnold Schoenberg. He is notably innovative for his application of serial techniques to rhythm. Composition for Four Instruments is considered one of the early examples of “totally serialized” music. It is remarkable for a strong sense of integration and concentration on its particular premises—qualities that caused Elliott Carter, upon first hearing it in 1951, to persuade New Music Edition to publish it.
The Klavierstücke constitute a series of nineteen compositions by German composer Karlheinz Stockhausen.
Punctualism is a style of musical composition prevalent in Europe between 1949 and 1955 "whose structures are predominantly effected from tone to tone, without superordinate formal conceptions coming to bear". In simpler terms: "music that consists of separately formed particles—however complexly these may be composed—[is called] punctual music, as opposed to linear, or group-formed, or mass-formed music", bolding in the source). This was accomplished by assigning to each note in a composition values drawn from scales of pitch, duration, dynamics, and attack characteristics, resulting in a "stronger individualizing of separate tones". Another important factor was maintaining discrete values in all parameters of the music. Punctual dynamics, for example
mean that all dynamic degrees are fixed; one point will be linked directly to another on the chosen scale, without any intervening transition or gesture. Line-dynamics, on the other hand, involve the transitions from one given amplitude to another: crescendo, decrescendo and their combinations. This second category can be defined as a dynamic glissando, comparable to glissandi of pitch and of tempi.
Klang —Die 24 Stunden des Tages is a cycle of compositions by Karlheinz Stockhausen, on which he worked from 2004 until his death in 2007. It was intended to consist of 24 chamber-music compositions, each representing one hour of the day, with a different colour systematically assigned to every hour. The cycle was unfinished when the composer died, so that the last three "hours" are lacking. The 21 completed pieces include solos, duos, trios, a septet, and Stockhausen's last entirely electronic composition, Cosmic Pulses. The fourth composition is a theatre piece for a solo percussionist, and there are also two auxiliary compositions which are not part of the main cycle. The completed works bear the work (opus) numbers 81–101.
Carré (Square) for four orchestras and four choirs (1959–60) is a composition by the German composer Karlheinz Stockhausen, and is Work Number 10 in the composer's catalog of works.
Adieufür Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets, the others being Zeitmaße (1955-1956) and the Rotary Wind Quintet (1997).
Punkte (Points) is an orchestral composition by Karlheinz Stockhausen, given the work number ½ in his catalogue of works.
Composition for Twelve Instruments is a serial music composition written by American composer Milton Babbitt for flute, oboe, clarinet, bassoon, horn, trumpet, harp, celesta, violin, viola, cello, and double bass. In it Babbitt for the first time employs a twelve-element duration set to serialize the rhythms as well as the pitches, predating Olivier Messiaen's (non-serial) "Mode de valeurs et d'intensités", but not the Turangalîla-Symphonie (1946–48), in which Messiaen used a duration series for the first time in the opening episode of the seventh movement, titled "Turangalîla II"..
A duration row or duration series is an ordering of a set of durations, in analogy with the tone row or twelve-tone set.
All Set, for jazz ensemble, is a 1957 composition for small jazz band by the American composer Milton Babbitt.
Spiel is a two-movement orchestral composition by Karlheinz Stockhausen, written in 1952. Withdrawn by the composer after its first performance, it was later revised and restored to his catalogue of works, where it bears the work-number ¼. The score is dedicated to the composer's first wife, Doris.
In music theory, the chromatic hexachord is the hexachord consisting of a consecutive six-note segment of the chromatic scale. It is the first hexachord as ordered by Forte number, and its complement is the chromatic hexachord at the tritone. For example, zero through five and six through eleven. On C:
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