The History of Set Theory from a European Point of View L__7fa L-? ? Luigi Verdi The use of elementary set theory inmusic is usually identifiedwith developments in speculative compositional theory in the United States since the early 1950s. However, before 1950 composers in both America and Europe invented various forms of pitch theory that are clearly early manifestations of the later "set theory." In Europe versus America, the pioneering stages of what has become known as "set theory" is a good deal more complicated and diverse. In this paper, we trace the development of European set theory in some detail. One of the typical features of earlyEuropean set theory is itsasystematic nature, consisting of empirical research oftenmixed with extra-scientific or even esoteric elements. No single school emerged as definitive, and the var ious theories remained isolated indifferent geographical locations. Thanks to research groups connected with universities or cultural centers such as the IRCAM1 Music Representation Group, recendy some common lines History of SetTheory froma European PointofView 155 of development invarious European countries have been identified, result ing in amore complete and integrated understanding. The use of simple arithmetic to define and describe musical processes is typical ofWestern culture.With the dissolution of the tonal system, the use of numbers for defining pitch and time relations inmusic substan tially increased. On the one hand, arithmetic was used to identify syntac tic rules tomodel the development of the past musical language. On the other hand, arithmetic implemented a search fornew compositional rules to guide themusic of the future. Very early in the twentieth century, several European theorists and composers were simultaneously considering issues such as the structural equivalence between minor and major chords under inversion or the construction of scales dividing the octave into equal parts. For example, see Vincent d'lndy (1851-1931), Cours de composition (1909), Hermann Schroder (1843-1909), Die symmetrischeUmkehrung in der Musik (1902), or later, Sigfrid Karg-Elert (1877-1933), Polaristische Klang- und Tonalitdtslehre (19 31). The basic methodology was to iden tifygeometrical patterns that could provide insight into the features of a musical language. A pioneering work by theUkrainian theorist Boleslav Javorsky (1877 1942) analyzed Scriabin's music and pointed out thatmany of theRussian composer's most innovative works were based upon patterns dividing the octave into equal parts. The use of whole numbers proved particularly effective to the identification of the properties of such scales and therefore the intervals of the octatonic (tone/semitone) scale began to be indicated as 1-2-1-2-1-2-1-2. Those of the whole-tone scale were identified as 2 2-2-2-2-2, and so on. This is one of the earliest examples of the use of interval strings to describe the structure of sets of tones. The study of the division of the octave into equal parts was of such considerable interest in theUkraine that it stimulated thework of two renowned Ukrainian com posers, Nicolas Slonimsky and Joseph Schillinger. The work of these authors, however, ispurely empirical. In the case of Slonimsky, scale sym metry is almost treated as a curiosity. Schillinger's theories were based on esoteric elements that are completely arbitrary and lacking scientific basis. Both authors moved to America early in their careers and became out standing personalities inAmerican musical culture. Yet their influence as theorists remained limited. Their most important theoretical works are Schillinger's TheMathematical Basis of theArts (1948), and Slonimsky's Thesaurus ofScales and Melodic Patterns (1947). However, the work of Slonimsky and Schillinger was the result of a European variant of set theory; this is confirmed by many early twentieth-century Russian avant-garde composers who segmented the 156 PerspectivesofNew Music chromatic scale in various ways. JefimGolyscheff (b. Kherson, Ukraine 1897, d. Paris 1970), Nicolas Obuchov (b.Moscow 1892, d. Paris 1954) Nikolaj Roslavec (b. Duschatin, Ukraine 1881, d. Moscow 1944), Alexander Mosolov (b. Kiev 1900, d. Moscow 1973), and Ivan Wyschnegradsky (b. Saint-Petersburg 1893, d. Paris 1979) were the "avant-garde pioneers" (Gojowy 1972). A similar trend to the Ukrainian-Russian development arose in Italy, particularly by Domenico Alaleona (1881-1928), whose study J moderni orizzonti delta tecnica musicale is unanimously recognized as a...
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