Abstract
While we commend “Tone Rows and Tropes” by Fripertinger and Lackner as the first completely mathematical treatment of twelve-tone rows, 6/6 mosaics, and their enumeration, we connect the topic to earlier, less formal research in music theory that is partially or not-at-all cited. Rows and related pitch-class entities are returned to their place in twelve-tone music theory and other theories of pitch and time such as pcset-theory and compositional design. We therefore describe the motivations for composing music with rows and how transformations and group actions affect a desire to make sonically coherent and unified music. The end of the review summarizes our concern for musical context by revealing many relations among rows from Luigi Dallapiccola's piano suite Quaderno musicale di Annalibera (1952).
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