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scientific program electroacoustic musics around set theory music analysis tools musicnetwork workshop professional week ircam forum workshops free software for music international multichannel sound forum performing arts and technologies dance and new technologies access to sound heritage thematic evenings demonstration stands artistic program set theory concert music in creation concert cursus concerts opera "one" sound installations open house weekend technologies gallery conferences demonstrations workshop-performances workshops and films ircam laboratories linux install-party concert distribution on internet associated events resonances night at glaz'art émilie simon at la cigale suguru goto reseaunances guided tours of ircam and the multimedia library resonances in pictures resonances 2002 
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LUIGI VERDIHistory of Set Theory from an European point of viewAbstractThe attitude to use whole numbers to point out notes in the twelve-tone chromatic scale dates back to about a century ago. Although the trend to quantify and to catalogue has always been present in Western music, it was with the dissolution of the tonal system that this trend became more urgent, especially among those composers who were looking for new forms of expression. In Europe, the first steps in this direction were made especially towards the subdivision of scales dividing the octave into equal parts. Ferruccio Busoni and Joseph Mathias Hauer may be considered as the beginners of the European Set Theory. In 1907, Busoni developed the idea of "synthetic scale" and worked out one early and pioneering classification of scales, while at the beginning of the Twenties, with the theory of "tropes", Hauer made the first example of a complete survey of all hexachords and some of their combinatorial properties. In the same time he developed the concept of harmonic field, meant as a collection of notes including the features of scale and chord, regardless of the horizontal or vertical order. In the Fifties, a few outsider theorists, such as Edmond Costère, from France, and Heinrich Simbriger, from Bohemian Germany, moved towards this direction. In the Seventies, original research developed in Eastern Europe, almost contemporarily and without any apparent exchange of ideas : Alois Pinos with Tonove Skupiny (1971) in Czechoslovakia, Maciei Zalewski with Harmonia Teoretyczna (1972) in Poland and Anatol Vieru with Cartea modurilor (1980) drew similar conclusions. These authors' research has substantially led to the same outcomes reached by the American set theorists at the beginning of the Eighties. In particular, Vieru's work has remarkably echoed, especially after mathematician Dan Vuza's further working out. Only during the last decade has research in Europe remarkably accelerated, with original contributions such as Guerino Mazzola,'s whose theoretical formulations are universally acknowledged as a model. |
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Organization Committee Copyright Ircam-Centre Pompidou 2003 |