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Enumeration of Synthetic Musical Scales by Matrix Algebra and a Catalogue of Busoni Scales
Author(s): Robert M. Mason
Source: Journal of Music Theory, Vol. 14, No. 1 (Spring, 1970), pp. 92-126
Published by: Duke University Press on behalf of the Yale University Department of Music
Stable URL: http://www.jstor.org/stable/843038
Accessed: 21-12-2015 07:52 UTC
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92
Enumeration
Synthetic
by
of
Musical
Scales
Matrix
Algebra
Busoni (1866-1924)
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93
and
Catalogue
of
Busoni
Scales
ROBERT M. MASON
Busoni's
Problem
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94
As almost everyone knows, the seven letters from A to G, arranged in the order C, D, E, F, G, A, B, denote that sequence
of tones and intervals referred to as the "one-octave, ascending scale of C major", or commonly, the "C major scale".
scales by
Busoni's proposal for forming synthetic musical
or
of
the
C
scale
was
studied
tones
by
major
flatting
sharping
Barbour in his 1929 paper. Since a sharp (#) or a flat (6) is a
musical sign telling the performer to raise or lower a tone one
applications of sharps and
halfstep in pitch, indiscriminate
flats to the C major scale might, in the equitempered system,
lead to tonal duplication (exemplified by G#Ab) or to overlapping
(exemplified by ElFL), which are prohibited. Barbour circumvented both of these complications by rephrasing the conditions
of Busoni's problem in terms of a particular musical instrument - the harp - and the way in which its natural scale can be
modified by pedal settings.
Usually the note C is marked as the starting point or entrance
to the scale of C major. If some other letter is chosen instead
to signify the "keynote", and the remaining letters are rotated,
the resulting cyclic rearrangement of the notes of the C major
scale is termed a "modal variant" of the C major scale. Having
decided to exclude modal variants, Barbour counted the scaletunings of the harp subject to this criterion by determing first
the number of two-tone fragments, then the number of threetone fragments, and so on, until he reached complete scales.
He found that Busoni's count of synthetic musical scales starting on C is somewhat less than the true number (155) of such
scales formed in accordance with Busoni's declared method.
In his 1949 paper, which was presented before the Acoustical
Society of America, Barbour elaborated on his earlier results.
He observed that "not all [sixty-six]
heptatonic scales can be
notated with seven letter names unless double sharps and flats
are used. "
Although retaining the general pattern of Barbour's approach,
the present study systematizes
the enumeration by using the
a method well adapted to digital compualgebra of matrices,
ters.
By employing standard mathematical procedures as a
framework within which to carry out the required enumeration,
rather than the less-familiar
harp tunings used by Barbour,
the present construction readily permits an extension of the
solution to five inflections (x, #, , 6,6
, ). An examination of the
catalog of Busoni scales (see Table 1) accompanying this enumeration demonstrates the correctness
of Barbour's observations.
Yet, such an examination reveals that six inflections
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95
are needed in order to write down all sixty-six
in every key.
heptatonic scales
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95
its starting point. To illustrate, various musical intervals can
be connected to form a chain beginning with C, as follows:
CD + DE + EF + FG + GA + AB + "BC" = CC.
(1)
2+2+
1 +2+2+2+
1 = 12.
(2)
it is better to re-express
+ 2 + 2 + (-5) = 0,
equation 2 as:
(3)
= (3/2)m:(3/2)n
= (3/2)m-n:1,
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97
where m and n are suitably chosen integers.
The numbers that
appear in equation 3, so-called "I-values" (see Reference 3),
are defined to be the logarithm on the base 3/2 of this ratio,
that is to say,
I = m - n.
= N1(-5)
N5(23)+
N6(30)
....
(4)
where the coefficients of the I-values (that is, the Ni) are nonnegative integers that together total seven. Obviously, for the
major
scale,
But there
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93
equal to either O"or 1. It follows that all Busoni scales must
contain at least two minor seconds.
Also evident is the fact
that no solutions are possible for N1 greater than 6. Consequently all Busoni scales are devoid of intervals stretched beyond the quadruply augmented mark. (See Reference 2b.)
Each row of Chart 1 contains a set of coefficients
Ni that balances the partition equation, equation 4. To illustrate the
meaning of the entries in this chart, the fourth solution says
that
4(5-)
+ 2(2) + 1(16) = 0.
This equality implies that many different Busoni scale struc= 105)
tures or modes exist (the exact number being 7!/(4!2!)
that are formed by arranging four minor seconds (m 2nd), two
major seconds (M 2nd), and one doubly augmented second (++
2nd) in every possible way. The factorial expressions
on the
right state the number of interval permutations that are possible for each combination of intervals
specified by the N's.
Barbour established the total to be 462 heptatonic modes. As
a check, this result can be shown to agree with the coefficient
of the zero-th power term in the expansion of the associated
generating function: *4
-5
(u
+u
+u
+u
16
+u
23
+u
30
).
(5)
A, B, C, D, E, F, G called L
, 66, ...
called I. Modern
musical notation is based on a new set made up of ordered
pairs produced by choosing the first element of the pair from
L and the second from I, in that order. This so-called "Cartesian product" set, written L x I (read "L cross I"), is termed
a literal alphabet. If the set I is restricted to an odd number
of inflections centered on b, the resulting truncated literal aland a set of inflections
..,
x,x,.
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99
CHART
1
I
1949)l
Classification
Nmber ofBusoni
(Barbour,
IScale Structures
Class
I 2 5=
I7
3
Class
II
Class
III
Class IV
114
4
3! 140
1--1
Class VII
1!
++ 2nd
+++ 2nd
+++- 2nd
m 2nd
M 2nd
+ 2nd
7!
412!
105
105
----1
Relationshi
p1
Intervalship
=3!
4I2--'!=
Class
V 5 01 1
Class VI
21
5!2!
5.!
5!
=42
= 42
7 =
6!
Total: 462
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100
phabet is said to be "balanced".
The musical symbolism required for the remainder of this discussion is customary and consists of two balanced literal alphabets that are obtained by taking two particular subsets of
L x I. These subsets are based on three and five inflections
and contain twenty-one and thirty-five literals,
respectively.
Graphically, the two literal alphabets may be depicted as sets
of points on a planar lattice, as shown in Figure 1.
The following brief review of the simple mathematical elements
called "matrices" is included here to facilitate the mathematically untrained musical reader's understanding of the subsequent material.
Matrix Algebra
First of all, a matrix P is defined as a rectangular
numbers p, which may be represented as follows:
array of
* "
P11 P12
'Pln
* *
P21 P22
P2n
P ~.
(6)
Pm1 Pm2
"
Pmn
(7)
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101
FIGURE
I
zz0
Literal Alphabets
-0--0-j--o0
0
35 LITERAL ALPHABET
21 LITERAL ALPHABET
0O
0
"I
FF
D
o
LET TERS
LETTERS
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102
r.
n
=
Pil1j
+P innj=1
ikqkj '
(8)
is the element required to occupy the ith row and jth column of
the product matrix R.
This definition implies that matrix multiplication is associative
and distributive, but not commutative.
These terms mean that
for any three matrices for which multiplication
is possible,
say U, V, W, it is always true that:
U(VW) = (UV)W
ASSOCIATIVE LAW
(9a)
U(V + W) = UV + UW
DISTRIBUTIVE LAW
(9b)
VU
(9c)
= P(P).
Successively
higher positive integral
be defined recursively,
so that
P3=
(2)p=
powers of a matrix
can
p(p2)
and, in general,
Pv= (Pv-1
Precedence
)=p(pv-1).
(10)
Matrices
In general a precedence matrix" is defined to be a square array (m = n) of zeros and ones, such that the entry in the ith
row and the jth column equals 1 if a corresponding precedence
relation holds, and the entry equals 0 otherwise.
A precedence
matrix P is a mathematical way of showning, for example, how
certain
ordered
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103
immediately before tone E in any scale, then the element in
the ith row and the jth column of P, i. e., pij, is set equal to
one. If tone Ei is not struck immediately before tone Ej, this
element is assigned the value zero.
Now if a 1 appears in the ith row and the jth column of a given
precedence matrix, then a 0 must appear in the jth row and ith
column of the same matrix, since usually if something immediately precedes something else, it cannot also immediately
follow. By the same token, all the elements in the ith row and
the ith column (that is, the elements P11' P22
Pii*
*....
....
something
Pnn) must be zero, because in normal circumstances
cannot immediately precede itself.
Example
Consider the direct precedences defining the ascending C major
scale (see equation 1), which constrain the scale steps to be
taken in a fixed order. Thus, if "<" denotes "must immediately
precede", the C major scale is defined by these precedence
relations
C<D, D<E, E<F, F<G, G<A, A<B, and B<C.
(11)
0100000
0010000
0001000
0000100
0000010
0000001
1000000
(12)
The 1 at the intersection of the C row and the D column of expression 12 means that in the corresponding C major scale
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104
"note C immediately precedes note D"; the 1 at the intersection
of the F column and the E row means that in this same scale
"note F immediately follows note E".
The Three-Inflectional
Case
To apply the previous ideas to Busoni's problem, it is necesThe matrix P for the threesary to work with larger matrices.
inflectional
case (see Figure 2) is constructed
as follows.
First, the twenty-one literals of the alphabet are listed both
across the top and down the left-hand side of the matrix. A
given literal designates the same row and the same column.
For example, D6 designates row four and column four in the
chosen matrix.
the literals
Subject to this single restriction,
may be assigned arbitrarily. *5 From Barbour's point of view,
these twenty-one designations are the various notes of the harp.
Second, each pair of literals having a direct precedence is entered into the matrix by the following rule of construction:
Whenever the interval relationship between the lower note (labeling row i) and the upper note (labeling column j) is an undiminished second, the element pij occuring in the ith row and
the jth column of the matrix P is assigned the value 1; otherwise this element is assigned the value zero.
Precedence matrices are useful not only because they represent
the sequence in which steps must be taken, but also because
their powers have an interesting interpretation.
To illustrate,
if Z denotes a precedence matrix, the entry in the ith row and
the jth column of Z2 gives the number of second-order precedences implicit in Z. The next few paragraphs describe the
formation of P2.
A precedence matrix is squared by multiplying it by itself using
the row-by-column rule given before for ordinary matrix multiplication (see equation 8). As it now stands, however, the
matrix P (Figure 2) is too large to handle conveniently.
Luckily
the calculation can be simplified by a mathematical trick. The
details of the trick are as follows: Let x and y denote the following submatrices of P:
x =
and y =
0 1 1
(13)
matrix
the P may be written follows:01
more compactly as
11Then
Then the matrix
P may be written
more
compactly
as follows:
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105
FIGURE
The P matrix - a precedence matrix for Busoni scales based on a twenty-one
literal alphabet. (Zero elements are suppressed.)
111
C
C
II1
1 1 1
Db
D
I1l
1 1
1 1
Eb,1
E
1 1 1
1I1 1 1
F
E
Fb,1
EG
1
I
1 11
1 1
G
G
l1l
11
A
Ab
A1
11I 1
Bb, 1 1 1
B
11
B$t
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100
Ox00000
0000
00x
000y000
P =
0000
x 00
(14)
00000x0
000000x
yO000000
The resulting seven by seven "partitioned matrix" is a symbolic expression of the original twenty-one by twenty-one matrix (Figure 2). Note that each 0 in the compact expression
really stands for a submatrix of zeros:
000
0=
0 0 0 .
(15)
000
Partitioned matrices are multiplied in the normal way by treatFor multiplicaing the submatrices as if they were elements.
tion of partitioned matrices to be possible, the first matrix
must be partitioned as to columns in the same way that the
second matrix is partitioned as to rows. By matrix multiplication, successive powers of P, in its partitioned form, can
be determined easily.
When the precedence matrix P is squared, the elements in the
resulting product matrix show the number of Barbour's threetone fragments.
For clarity,
0 x 000002
00
x 000
000
0 0
y 000
x 00
0 0 0 0 0 x 0
x
000000
the particular
x2=
111
111
011
0
0
Ox2
xy
Oyx
y 000000
where
Oxy
0000
Ox2
Oyx
0
0x2
submatrices
are calculated
111
111
011
233
233,
122
(16)
0,
as follows:
(17a)
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107
xy =
yx=
111
1 1 1
011
111
0 1 1
001
111
011
111
111
001
011
123
1 2 3
012
(17b)
233
122,
(17c)
011
(Note from equations 17b and 17c that yx xy; this illustrates
the behavior expressed in 9c.) As an example of the interpretation of 17a, consider the position of x2 in the top part of P2:
CT
C
C#
Eb E E#
2
2
1
3
3
2
3
3
2
Case
The precedence matrix Q for Busoni's problem in the fiveinflectional case is shown in Figure 3. Let x and y now stand
for the following submatrices of Q:
11111
1 1 1 1 1
x =
0 1 1 1 1
0 0 1 1 1
0 0 0 1 1
and y =
11111
0 1
0 0 1
0 0 0
0 0 0
1 1
1 1
(18)
1 1
0 1
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1o08
themselves
of Busoni
Listing
time.
Scales
1
0003
0370
0209
1086
0952
0759
0175
0129
0843
0403
0564
h
379
381
415
431
439
443
445
463
471
475
477
1118
0057
0234
1220
0306
0899
0439
0972
1016
0648
0034
h
487
491
493
499
501
505
607
623
631
635
637
1029
1213
1154
0711
0111
0825
0325
0539
1047
0479
0350
h
671
687
695
699
701
719
727
731
733
743
747
1
0864
1178
0945
0800
1246
0590
1195
0257
0392
0674
0287
h
749
755
757
823
827
829
847
855
859
861
871
0935
0990
0473
0627
0601
1069
0779
1143
0912
0683
0513
h
875
877
885
925
939
941
949
981
1367
1371
1387
0875
0737
0155
1107
0427
1239
1188
0197
0092
0452
1252
+ P
S21 =P+P
+ P
+ P
+ P
in this way,
is condensed
(19)
p7
of each of these
the sum
(20)
Q4 + Q5 + Q6 + Q7
the information
contained
without disturbance.
in
each
All Tables
- ed.
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109
FIGURE
The Q matrix - a precedence matrix for Busoni scales based on a thirty-five
literal alphabet. (Zero elements are suppressed.)
C~)1
1 1 1 1
1111
1 11
1 1
C
Cs
Cx
Db
11 1 1 1
1 1 1 1 1
1111
Dfr
D
Dx
EbC1
E
E
1 1
El
Ex
FbC
FC
F
Ft
Fx
Gb,
Gfr
G
Ge
Gx
1 1 1
1 1 1
1 1
1
1
1
1
1
1
1
1
1
1
1
1 1 1 1
1 1 1 1
1111
1 1
1
A~lP
Afr
Ab
AW
Ax
B
Bf
B
Bt
Bx
1 1 1 1
1 1 1 1
111
1
1
1
1
1
1
1 1 1 1 1
1 1 1 1 1
1111
1
11
1 1
1 1 1 1 1
I 1! 1 1
111
1 1
I
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110
complete Busoni modes that correspond to the row or column
label. Those in boxes along the main diagonal (italic), excluding
main diagonal entries (bold), relate to two-octave Busoni scales
And those
and thus should be regarded as spurious solutions.
situated elsewhere (roman) reveal the number of fragments
that radiate from the corresponding row label as keynote or
lead into the corresponding column label as endnote.
Focusing attention on Table 2, the sequence of entries reading
from left to right along the bottom row of S21 states that there
is a unique two-tone fragment from B# to C#. Building upon
that, there is a single three-tone fragment ending on D and another ending on D#. Continuing in the same direction, there
is just one four-tone fragment from B# to Eb, although there are
two of them from B# to E and from B# to E#. Moreover, there
are a total of nine five-tone fragments with keynote B#. (Actually 1 + 3 + 5 is a row sum of p4; column sums have a meanthere are 22 six-tone
ingful interpretation too. ) Likewise,
fragments starting on B#, of which four terminate on G6, and
there are 57 seven-tone fragments starting on B#, of which 13
terminate on Ab. Again, there are 92 attempts (35 + 57) to
form Busoni scales starting on B# that failed because the endnotes (B6 and B, respectively) do not match the keynote. Finally, there are 57 successful
attempts to form Busoni scales
starting on B#.
The numbers (bold) generated along the main diagonals of Tables
2 and 3 - that is, along a straight line extending from the top
left to the bottom right corner of S21 and S35 - comprise an
enumeration of complete Busoni modes originating and terminating at notes labeling the row or column in which they appear.
If these diagonal elements are summed the result is called a
"trace". In mathematical
notation the trace of either S21 or
S35 may be represented by the same formula,
n
tr S =
k=1
Skk,
or
tr S =
i= 1,
s ij.
(21)
j=i
Since tr S21 = 2541 = 7 X 363, there are 2541 Busoni modes
and 363 Busoni scales based on the twenty-one literal alphabet.
Similarly, since tr S35= 8778= 7 X 1254, there are 8778 Busoni
modes and 1254 Busoni scales based on the thirty-five literal
alphabet.
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111
Busoni Mode Names
The first family of scales set off by arrowheads in Table 1 occupies lines 0001 to 0029 inclusive.
Undoubtedly the scales in
this first section are harmonically equivalent because they are
modal variants of the major scale. To speak in precise terms,
when the tone in the r-th column of the first section is taken to
be the keynote of the scale, the scales in this equivalence class
are named as follows:
r
mode
Lydian,
Mixolydian,
Aeolian,
Locrian,
Major,
Dorian; and
Phrygian.
=
=
=
=
=
=
=
=
=
=
=
=
0013
0014
0015
0016
0017
0018
0019
0020
0021
0022
0023
0024
=
=
=
=
=
0025
0026
0027
0028
0029
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112
Referring again to Table 1, it is apparent that within any section listing more than twelve Busoni scales those scales in
lines N and N + 12 are enharmonically identical. A close look,
however, shows that not all sections list thirteen or more
Some Busoni scales remain to be found.
scales.
As previously indicated, several conclusions
an inspection of Table 1.
paragraph
THEOREM 1: An alphabet having six inflections is both necessary and sufficient to ensure that all twelve enharmonically
distinct Busoni scales in each of the sixty-six possible harmonically distinct classes of heptatonic scales appear at least
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113
FIGURE
Tones
0 1_2f3 4 5 6 7
-
Bx
Cx
Dx
B
B$
C
C
C
Ebb
F?
Ex
Fx
E$
F$
Ab
FE
10111
9]
Gx
Ax
G$
A
-
A
-
B
C
B
C
-
CHART
2
1250
1251
1252
1253
1254
1254+i
1254+2i
1254+3i
1254+4i
1254+5i
1254+6i
1254+7i
FO
COO
G b
DI0
AO
FD
BO
FO
CO
GO
Df
AO
Gx
Dx
Ax
Ex
Bx
F*
C*
GO
D*.
A.
E*
B3
A$
E$
SB
Fx
Cx
Gx
Dx
Ax
Ex
Bx
F.
C*
B
F$
C$
G$
D$
A$
E$
SB
Fx
Cx
Gx
Dx
C
G
D
A
E
B
F$
C$
G$
D$
AS
E$
Di
AO
EO
BS
F
C
G
D
A
E
B
F$
EOO
Bp
FO
CO
GO
DW
AO
EO
Bs
F
C
G
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114
once in the list analogous to Table 1.
THEOREM 2: Every scale that has seven or fewer tones can
be written without using any letter more than once, although to
do so may require as many as six inflections.
Thus, it may be said that harmonies
distinct tones are "weakly diatonic'.
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115
TABLE
1
BUSONISCALES
W0001
0002
0003
0004
0005
0006
0007
0008*
0O09
00100
00110
00120
00130
0014*
0015*
0016*
00170
0018*
0019
0020
0021
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( Table Continues)
This content downloaded from 130.126.162.126 on Mon, 21 Dec 2015 07:52:00 UTC
All use subject to JSTOR Terms and Conditions
11i8
0415
0416
0417
W0418
0419
0420
0421
0422
0423
0424
04250
04260
04270
0428
0429
0430
0431
0432
0433
0434
,0435
0436
0437
0438
0439
0440
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04420
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04440
0445
0446
0447
0448
0449
0450
0451
W0452
0453
0454
0455
056
04,7
0458
0459"
0460
0461
0462
0463
0464
0465
0466
W0467
0468
0469
0470
0471
0472
0473
0474
0475
0476
W0477
0478
0479
0480
0481
0482
0483
0484*
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0487*
04890
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04910
04920
04930
04940
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0508
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0512*
05135
05140
05150
05160
05170
05180
05190
05200
0521
0522
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0524
0525
0526
0527
0528
0529
0530
0551
05352
053355
0534
05355
05360
0537*
0538*
0539*
0540*
054M1
05420
0543
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0546"
0547
0548
0549
0550
0551
0552
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(Table (ontinues)
This content downloaded from 130.126.162.126 on Mon, 21 Dec 2015 07:52:00 UTC
All use subject to JSTOR Terms and Conditions
119
0555
0556
0557
0558
0559
0560
05610
05620
0563
0564*
05650
0566
0567
0568
0569*
0570
05710
0572
0575
0574
0575
0576
0577
0578
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05880
0581
0582
D11
05815
0584
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05870
0584
0588
05891
05900
05110
0592
0595
0594
0595
0596
0597
0598
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0601
0602
0605
0604
0605
0606
0607*
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06090
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0626
0627
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06351
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06510
06520
06250
06540
06550
0656
0657
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0630
0660
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0665
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0664
0665
0666
0667
0668
0669
06700
0671
0672
0675
0674
0675
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0677
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0679
0680
0681
0682
0683
0684
06850
0686O
0687*
0688*
06900
0689*
06920
0691"
0693*
( Table Conhtiues)0690"
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All use subject to JSTOR Terms and Conditions
124
TABLE
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0
1
1
12
3
3
5
8
8 5 13 21 18 39 39 57 96 96 153 249 249
1
2
2
3
5
5 3
8 13 11 24 24 35 59 59 94 153 153
1 0
1
1
1
2 1
2
3
5 4
9
9 13 22 22 35 57 57
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THE MATRIXS33
COO CO
CxDWO
D
DO
Dx
ErO EO
FO
Ex
Ff
El
Fx
GOO GO G
Gx
G$
AOO A
28
28
90201
90201
361
361
14
5
1
14
9
4
48 112
20 51
6 18
42 89
28 61
1433
206
98
37
155
108
61
D$
Dx
Ef
E)
E
0
1
2
2
521
1
3196801201
1
1
1
1
521 118
1
1
118 319 680 1201 1201
1
1
1
1201
300
680680
0
1
1
1
1
62174380
145 25
76 174 319 319
0
0
1
1
1
56
7 25 62 118
0
0
0
1
1
221 56 145 300 521 521
118 201 501 1022 1543 1543
155 37 98 206 361 361 135 341 702 1063 1063
89 18 51 112 201201
69181
382 583 583
47 19 47
Fx5 1428
660
1 9 6 16
6 66
206
0
141
14
28
28
20
48
19
47
94
160
160
66
160
320
Ex
!
14
F$
S
3
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0
9
02
FI,
66
28
GA
G$
0
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3
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1
1
1
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3
1
6
3
1
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76
76
480
480
329
178
76
32943
17820
76
19
14
10
47
26
16
10
30
20
1 4
10
041 6 0 1
4
6
10
13
2
3
149
34
49
34
19
6
53
34
102
68
151
102
15
34
53
115
115
151
102
1
9
5
9
11
4
14
53
23
23
9
234
10
0
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3
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2
00
Bx
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30
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1 2
3
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10
6
3
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4
1
5
4
3 4
5
4
4
1
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5
01
1026 1506
3
86
697
150
1026
74 190 368
546
26 74 150 226
76 16
178
48
28
14
5
54
20
62
34
15
10
4
5
2
1
0
329
48099
218
107
320
62
43
160
66
160
25
7
7
1111
64
31
94
16
0
0
0
277 606
206
1
9
9
145
1
41
3
0
2
0
9
15
15
226
23
9
349
16
178
716
1086
1086
S
716
79 186
27
70
99 210
136
370
346
136
37016
52
210
210
70
99
99
27
79
18
116
4752
Bt
9
15
15
546
6
23
14
19
0
1
1
1
66
14
0
!1
2
4
4
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3
3
3
3
5
5
5
2
2
48480
"226
1 01 1 11 2
746102681506
111 111 43
3
264
107 218
47
62 20 54 116
1 15 3 34 6962
19
4
3
410 51
109
28
4
914 1 0 5 1 14 3 28 5 28
6 20
48
0
129 33
Gx
47
1
1
0
0
186
19
9
28
14
15
34
62
62
20
54
28
9
28
9
14
4
20
0
!
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126
E
RE
ES
Barbour, J.M.
(a) "Synthetic Musical Scales"'
(March
1929).
The American
Mathematical
Monthly, 36
pp. 155-160.
(b) "Musical Scales and their Classification", The Journal of the Acoustical
Society of America, 21/6 (Nov. 1949), pp. 586-589.
3
n2 1 +x+ x2 +...
1-x
+xnn-1
x6)7
(1- x)7
Now by using the identity:
1 + (n)x + n+2 )x2
(1
- x)=
+ ...,
Ixl<1,
of x5 in the expansion:
7+r-1)xr
r
If the first factor of this expression is expanded, all but the first term has x to
a higher power than 5 and can be neglected. Therefore, the required coefficient
is (
) = 462.
In order to generate the elements of the matrix more easily on a digital computer, an arrangement of the literals as they occur in a chain of perfect fifths
would be favored. Alternatively, the present arrangement is suitable for hand
calculation and leads to a more readable tabular presentation.
Mason, R. M. "An Encoding Algorithm and Tables for the Digital Analysis of
Harmony", Journal of Research in Music Education: (I) 17/3 (Fall 1969), pp.
286-300; (II) 17/4 (Winter 1969), pp. 369-387.
The imaginary unit i has been introduced here merely to obtain additional numerical labels with which to identify the many Busoni keys (that is, Busoni
modes at fixed pitch-levels) that are not explicitly listed in, but rather fall logically between certain lines of, Table 1. To elaborate, the Busoni key defined
by the literal sequence Cx D$ E F Gb Abb Bbbb would be labeled in accordance
with this scheme by the expression "1250 - i, co-Mixolidian", where the prior
"-" is a minus sign.
Journal of the
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