Voicing relations in pitch‐class set analysis

Abstract

Traditional analytic techniques in set theory often avoid assigning qualitative factors to set structure. This investigation presents a methodology for examining harmonic voicings in trichords and tetrachords along with outlining several relationships evident in the compositional usage of voice‐order relations. Suggestions for further applications of this technique in the fields of music theory, composition, musicology, and perceptual psychology are noted.