Time point

Edit links
Source: Wikipedia, the free encyclopedia.
For other uses, see Timepoint.

In

attack point[5] and starting point.[6] Milton Babbitt calls the distance from one time point, attack, or starting point to the next a time-point interval,[7] independent of the durations of the sounding notes which may be either shorter than the time-point interval (resulting in a silence before the next time point), or longer (resulting in overlapping notes). Charles Wuorinen shortens this expression to just time interval.[8] Other writers use the terms attack interval,[5] or (translating the German Einsatzabstand), interval of entry,[9] interval of entrance,[10] or starting interval.[11]

Interonset interval

\version "2.16.2" \header { tagline = ##f} \score { << \drums \with {midiInstrument = "drums"} \with { \numericTimeSignature } { \repeat volta 1 { <<{cymra4 cymra cymra cymra}\\{bd2 sne2}>> <<{cymra8 r cymra r cymra r cymra r}\\{bd4 r sne4 r}>>\break }} >> \layout {indent=0} \midi { \tempo 4 = 100 } }

Half time: the snare moves to beats 3 of measure one and two (beats 3 & 7) while the hi-hat plays only on the quarter notes. Also, the quarter notes 'sound like' eighth notes in one giant measure.

The corresponding term used in acoustics and audio engineering to describe the initiation of a sound is onset, and the interonset interval or IOI is the time between the beginnings or attack points of successive events or notes, the interval between onsets, not including the duration of the events.[12] A variant of this term is interval of onset.[13]

For example, two sixteenth notes separated by dotted eighth rest, would have the same interonset interval as between a quarter note and a sixteenth note:

Snare
Piano
Clarinet

The concept is often useful for considering rhythms and meters.[12]

Time-point sets

Division of the measure/​chromatic scale, followed by pitch/time-point series

In

notes start. This has certain advantages over a duration scale or row built from multiples of a unit,[15] derived from Olivier Messiaen.[16]

since duration is a measure of distance between time points, as interval is a measure of distance between pitch points, we begin by interpreting interval as duration. Then, pitch number is interpretable as the point of initiation of a temporal event, that is, as a time-point number.

— Milton Babbitt[14][17]

For example, a

metrical positions. In 3
4 this equals sixteenth notes. The start of each position, or time point, may then be labeled, in order, 0–11. Pitches may then be assigned locations within measures according to their pitch set number, now their pitch/time-set number. In Babbitt's first example he shows subsequent numbers which ascend (0–11) as within the same measure (if four follows three it may sound immediately), and subsequent numbers which descend as in the following measure (if three follows four it must necessarily wait for the next appearance of time-point three).[17]

Babbitt uses time points in Partitions (1957), All Set (1957), and Post-Partitions (1966),[18] as well as in Phonemena (1969–70), String Quartets No. 3 (1969–70) and No. 4 (1970), Arie da capo (1974), My Ends Are My Beginnings (1978), and Paraphrases (1979).[19]

Charles Wuorinen has also developed an approach to the time-point system, which differs greatly from Babbitt's.[19][clarification needed]

Sources

  1. ^ Kramer 1988, p. 454.
  2. ^ Kramer 1988, p. 97.
  3. ^ Babbitt 1962, p. 72.
  4. ^ Wuorinen 1979, p. 131.
  5. ^ a b Lejaren Hiller and Ramon Fuller, "Structure and Information in Webern's Symphonie, Op. 21", Journal of Music Theory 11, no. 1 (Spring 1967): 60–115. Citation on p. 94.
  6. ^ Hubert S. Howe, Jr., Electronic Music Synthesis: Concepts, Facilities, Techniques (New York: W. W. Norton, 1975): p. 28
  7. ^ Babbitt 1962, p. 67.
  8. ^ Wuorinen 1979, p. 130.
  9. ISBN 3-00-016185-6
    .
  10. ISBN 9789058677358
    .
  11. ^ Dieter Schnebel, "Epilogue", translated by Sharmila Bose, in Stockhausen in Calcutta, selected by Hans-Jürgen Nagel, pp. 1–5 (Calcutta: Seagull Books, 1984): 2.
  12. ^
    ISBN 978-0-19-974437-4
    .
  13. ^ John MacKay, "On the Perception of Density and Stratification in Granular Sonic Textures: An Exploratory Study", Interface 13 (1984): 171–186. Citation on p. 185.
  14. ^ a b Babbitt 1962, p. 63
  15. ISBN 0-262-18215-7
    .
  16. ISBN 9789053567654
    .
  17. ^
    ISBN 978-0-19-538485-7
    .
  18. ISBN 978-0-19-816511-8
    .
  19. ^ a b Mead, Andrew (1987) "About About Time's Time: A Survey of Milton Babbitt's Recent Rhythmic Practice", Perspectives of New Music 25, nos. 1–2 (Winter/Summer 1987): 182–235. Citations on pp. 187–189, 192–193, 195–197, 200–205, 215, and 225–230.

Sources

Further reading

External links
Retrieved from "https://en.wikipedia.org/w/index.php?title=Time_point&oldid=1154578240"