Groups Actions in Neo-Riemannian Music Theory

Introduction
Transposition and Inversion

The neo-Riemannian Group and Geometry
Extension of neo-Riemannian Theory
Hindemith, Fugue in E
Conclusion
Groups Actions in neo-Riemannian Music Theory

Thomas M. Fiore with A. Crans and R. Satyendra
http://www.math.uchicago.edu/~fiore/
Introduction
Conclusion
Introduction
Mathematics is a very powerful descriptive tool in the physical

sciences.
Similarly, musicians use mathematics to communicate ideas
about music.
In this talk, we will discuss some mathematics commonly used
by musicians.
Introduction
Conclusion
Our Focus
Mathematical tools of music theorists:
Transposition
Inversion
The neo-Riemannian PLR-group
Its associated graphs
An Extension of the PLR-group by Fiore-Satyendra.
We will illustrate this extension with an analysis of Hindemith,
Ludus Tonalis, Fugue in E .
Introduction
Conclusion
References
Material from this talk is from:

1
Thomas M. Fiore and Ramon Satyendra. Generalized

contextual groups. Music Theory Online, 11(3), 2005.
Alissa Crans, Thomas M. Fiore, and Ramon Satyendra.

Musical actions of dihedral groups. American Mathematical
Monthly, In press since June 2008.
Introduction
Conclusion
What is Music Theory?
Music theory supplies us with conceptual categories to

organize and understand music.
David Hume: impressions become tangible and form ideas.
In other words, music theory provides us with the means to
find a good way of hearing a work of music.
Introduction
Conclusion
Who Needs Music Theory?
Composers
Performers
Listeners
Introduction
Conclusion
The Z12 Model of Pitch Class

B
A#/B
We have a bijection
between the set of pitch
classes and Z12 .
C
0
1
11
C#/D
2 D
10
3 D#/E
A 9
G#/A
4 E
8
5
7
G
6
F#/G
Figure: The musical clock.
Introduction
Conclusion
Transposition
The bijective function
Tn : Z12 Z12
Tn (x) := x + n
is called transposition by
musicians, or translation
by mathematicians.
T4 (7) = 7 4 = 3
T3 (5) = 5 3 = 2
G
7
7
G
7
7
G
7
7
E
3
T4 (7)
F
5
5
F
5
5
F
5
5
D
2
T3 (5)
Introduction
Conclusion
Inversion
The bijective function
In : Z12 Z12
In (x) := x + n
is called inversion by musicians, or
reflection by mathematicians.
I0 (0) = 0 = 0
I0 (7) = 7 = 5
hC , G i
h0, 7i
h0, 7i
hC , F i
hI0 (0), I0 (7)i
h0, 5i
Introduction
Conclusion
The T /I -Group
Altogether, these
transpositions and
inversions form the
T /I -group.
This is the group of
symmetries of the
12-gon, the dihedral
group of order 24.
B
A#/B
C
0
1
11
C#/D
2 D
10
3 D#/E
A 9
G#/A
4 E
8
5
7
G
6
F#/G
Figure: The musical clock.
Introduction
Conclusion
Major and Minor Triads

Major and minor
triads are very
common in
Western music.
C -major = hC , E , G i
= h0, 4, 7i
c-minor = hG , E , C i
= h7, 3, 0i
The set S of consonant triads

Major Triads Minor Triads
C = h0, 4, 7i h0, 8, 5i = f
C = D = h1, 5, 8i h1, 9, 6i = f = g
D = h2, 6, 9i h2, 10, 7i = g
D = E = h3, 7, 10i h3, 11, 8i = g = a
E = h4, 8, 11i h4, 0, 9i = a
F = h5, 9, 0i h5, 1, 10i = a = b
F = G = h6, 10, 1i h6, 2, 11i = b
G = h7, 11, 2i h7, 3, 0i = c
G = A = h8, 0, 3i h8, 4, 1i = c = d
A = h9, 1, 4i h9, 5, 2i = d
A = B = h10, 2, 5i h10, 6, 3i = d = e
B = h11, 3, 6i h11, 7, 4i = e
Introduction
Conclusion
Major and Minor Triads

The T /I -group acts on the
set S of major and minor
triads.
B
A#/B
C
0
1
11
C#/D
2 D
10
3 D#/E
A 9
T1 h0, 4, 7i = hT1 0, T1 4, T1 7i
= h1, 5, 8i
G#/A
4 E
8
5
I0 h0, 4, 7i = hI0 0, I0 4, I0 7i
= h0, 8, 5i
6
F#/G
Figure: I0 applied to a C -major triad

yields an f -minor triad.
Introduction
Conclusion
Neo-Riemannian Music Theory

Recent work focuses on the neo-Riemannian operations P, L,
and R.
P, L, and R generate a dihedral group, called the
neo-Riemannian group. As well see, this group is dual to the
T /I group in the sense of Lewin.
These transformations arose in the work of the 19th century
music theorist Hugo Riemann, and have a pictorial description
on the Oettingen/Riemann Tonnetz.
P, L, and R are defined in terms of common tone preservation.
Introduction
Conclusion
The neo-Riemannian Transformation P

We consider three
functions
P, L, R : S S.
Let P(x) be that
triad of opposite
type as x with the
first and third
notes switched.
For example
Ph0, 4, 7i =
P(C -major) =

C = h0, 4, 7i h0, 8, 5i = f
C = D = h1, 5, 8i h1, 9, 6i = f = g
D = h2, 6, 9i h2, 10, 7i = g
D = E = h3, 7, 10i h3, 11, 8i = g = a
E = h4, 8, 11i h4, 0, 9i = a
F = h5, 9, 0i h5, 1, 10i = a = b
F = G = h6, 10, 1i h6, 2, 11i = b
G = h7, 11, 2i h7, 3, 0i = c
G = A = h8, 0, 3i h8, 4, 1i = c = d
A = h9, 1, 4i h9, 5, 2i = d
A = B = h10, 2, 5i h10, 6, 3i = d = e
B = h11, 3, 6i h11, 7, 4i = e
Introduction
Conclusion
The neo-Riemannian Transformation P

We consider three
functions
P, L, R : S S.
Let P(x) be that
triad of opposite
type as x with the
first and third
notes switched.
For example
Ph0, 4, 7i = h7, 3, 0i
P(C -major) = c-minor

C = h0, 4, 7i h0, 8, 5i = f
C = D = h1, 5, 8i h1, 9, 6i = f = g
D = h2, 6, 9i h2, 10, 7i = g
D = E = h3, 7, 10i h3, 11, 8i = g = a
E = h4, 8, 11i h4, 0, 9i = a
F = h5, 9, 0i h5, 1, 10i = a = b
F = G = h6, 10, 1i h6, 2, 11i = b
G = h7, 11, 2i h7, 3, 0i = c
G = A = h8, 0, 3i h8, 4, 1i = c = d
A = h9, 1, 4i h9, 5, 2i = d
A = B = h10, 2, 5i h10, 6, 3i = d = e
B = h11, 3, 6i h11, 7, 4i = e
Introduction
Conclusion
The neo-Riemannian Transformations L and R

Let L(x) be that triad of opposite type as x with the second
and third notes switched. For example
Lh0, 4, 7i = h11, 7, 4i
L(C -major) = e-minor.
Let R(x) be that triad of opposite type as x with the first and
second notes switched. For example
Rh0, 4, 7i = h4, 0, 9i
R(C -major) = a-minor.
Introduction
Conclusion
Minimal motion of the moving voice under P, L, and R.

B
C
0
1 C#/D
11
A#/B 10
4 E
3 D#/E
G#/A 8
4 E
7
G
2 D
A 9
3 D#/E
G#/A 8
6
F#/G
7
G
PC = c
6
F#/G
LC = e
B
1 C#/D
A#/B 10
2 D
A 9
C
0
11
C
0
11
1 C#/D
A#/B 10
2 D
A 9
3 D#/E
8
4 E
G#/A
7
G
5
6
F#/G
RC = a
Introduction
Conclusion
Example: The Elvis Progression
The Elvis Progression I-VI-IV-V-I from 50s Rock is:
HIJK
ONML
C
HIJK
/ONML
a
HIJK
/ONML
F
RLRL
ONML
/HIJK
G
LR
ONML
/HIJK
C
Introduction
Conclusion
Example: The Elvis Progression
The Elvis Progression I-VI-IV-V-I from 50s Rock is:
HIJK
ONML
G
HIJK
/ONML
e
HIJK
/ONML
C
RLRL
ONML
/HIJK
D
LR
ONML
/HIJK
G
Introduction
Conclusion
Example: Oh! Darling from the Beatles

HIJK
ONML
f
O/ NML
HIJK
D
E+
A
E
Oh
Darling please believe me
f
D
Ill never do you no harm
b7
E7
Be-lieve me when I tell you
b7
E7
A
Ill never do you no harm
O/ NML
HIJK
b
PRL
OHIJK
/ NML
E
Introduction
Conclusion
The neo-Riemannian PLR-Group and Duality

Definition
The neo-Riemannian PLR-group is the subgroup of permutations
of S generated by P, L, and R.
Theorem (Lewin 80s, Hook 2002, ...)
The PLR group is dihedral of order 24 and is generated by L and
R.
Theorem (Lewin 80s, Hook 2002, ...)
The PLR group is dual to the T /I group in the sense that each is
the centralizer of the other in the symmetric group on the set S of
major and minor triads. Moreover, both groups act simply
transitively on S.
Introduction
Conclusion
The Oettingen/Riemann Tonnetz

6
11
2
5
10
1
10
6
2
5
10
1
0
8
9
5
11
10
11
3
11
4 L
0
8
11
2
7
3
10
Introduction
Conclusion
The Torus
Introduction
Conclusion
The Dual Graph to the Tonnetz
11
10
2
5
10
1
0
8
0
8
E
0
11
Figure: The Tonnetz.
10
f#
d
B
E
C
A
f
C#
F#
e
P
C#
c#
A
2
B
b
F#
e
C
5
1
2
10
2
10
11
11
3
11
4 L
0
8
E
A
c#
a
E
Figure: Douthett and Steinbachs

Graph.
Introduction
Conclusion
The Dual Graph to the Tonnetz

c
A
f#
F#
a
E
e
c
P
c#
b
f#
C
c#
g
a
F#
C#
Figure: Douthett and Steinbachs

Graph.
A
a
C#
F#
A
F
E
e
c#
C#
Figure: Wallers Torus.
Introduction
Conclusion
Beethovens 9th, 2nd Mvmt, Measures 143-17 (Cohn)

R
89:;
89:;
/ ?>=<
/ ?>=<
B
dddddd g
d
d
d
d
d
d
d
d
d
d
d
L dddddddd
ddddddd
d
d
d
d
d
d
d
ddddddd L
R
L
R
dr dddddd / ?>=<
89:;
?>=<
89:;
89:;
89:;
89:;
89:;
/ ?>=<
/ ?>=<
/ ?>=<
/ ?>=<
c
f
E
A
D
dddddd b
d
d
d
R
d
d
d
d
d
d
d
d
d
L dddddddd
ddddddd
d
d
d
d
d
d
ddddddd L
R
L
R
dr dddddd / ?>=<
89:;
?>=<
89:;
89:;
89:;
89:;
89:;
/ ?>=<
/ ?>=<
/ ?>=<
/ ?>=<
g
B
E
G
e
ddddddd c
d
d
R
d
d
d
d
d
ddddddd
dLdddddd
d
d
d
d
d
d
ddddddd
ddddddd L
R
L
R
89:; dr dddd / ?>=<
?>=<
89:;
89:;
89:;
89:;
89:;
/ ?>=<
/ ?>=<
/ ?>=<
/ ?>=<
89:;
?>=<
C
89:;
/ ?>=<
a
89:;
/ ?>=<
F
89:;
/ ?>=<
d
Introduction
Conclusion
Thus Far We have seen:

How to encode pitch classes as integers modulo 12, and
consonant triads as 3-tuples of integers modulo 12
How the T /I -group acts componentwise on consonant triads
How the PLR-group acts on consonant triads
Duality between the T /I -group and the PLR-group
Geometric depictions on the torus and musical examples.
But most music does not consist entirely of triads!
Introduction
Conclusion
Extension of Neo-Riemannian Theory
Theorem (FioreSatyendra, 2005)

Let x1 , . . . , xn Zm and suppose that there exist xq , xr in the list
such that 2(xq xr ) 6= 0. Let S be the family of 2m pitch-class
segments that are obtained by transposing and inverting the
pitch-class segment X = hx1 , . . . , xn i. Then the 2m transpositions
and inversions act simply transitively on S.
Introduction
Conclusion
Extension of Neo-Riemannian Theory: Duality

Theorem (FioreSatyendra, 2005)
Fix 1 k, n. Define
K (Y ) := Iyk +y (Y )
Qi (Y ) :=
Ti Y if Y is a transposed form of X
Ti Y if Y is an inverted form of X .
Then K and Q1 generate the centralizer of the T /I group of order

2m. This centralizer is called the generalized contextual group. It
is dihedral of order 2m, and its centralizer is the mod m
T /I -group. Moreover, the generalized contextual group acts
simply transitively on S.
Introduction
Conclusion
Subject of Hindemith, Ludus Tonalis, Fugue in E

Lets see what this theorem can do for us in an analysis of
Hindemiths Fugue in E from Ludus Tonalis.
Subject:
Introduction
Conclusion
The Musical Space S in the Fugue in E
Consider the
four-note motive
P0 = hD, B, E , Ai
= h2, 11, 4, 9i.
Transposed Forms
P0 h2, 11, 4, 9i
P1 h3, 0, 5, 10i
P2 h4, 1, 6, 11i
P3
h5, 2, 7, 0i
P4
h6, 3, 8, 1i
P5
h7, 4, 9, 2i
P6 h8, 5, 10, 3i
P7 h9, 6, 11, 4i
P8 h10, 7, 0, 5i
P9 h11, 8, 1, 6i
P10
h0, 9, 2, 7i
P11 h1, 10, 3, 8i
Inverted Forms
p0 h10, 1, 8, 3i
p1 h11, 2, 9, 4i
p2 h0, 3, 10, 5i
p3 h1, 4, 11, 6i
p4
h2, 5, 0, 7i
p5
h3, 6, 1, 8i
p6
h4, 7, 2, 9i
p7 h5, 8, 3, 10i
p8 h6, 9, 4, 11i
p9 h7, 10, 5, 0i
p10 h8, 11, 6, 1i
p11 h9, 0, 7, 2i
Introduction
Conclusion
Q2 Applied to Motive in Subject and I11-Inversion
HIJK
ONML
P0
Q2
HIJK
/ONML
P10
Q2
HIJK
/ONML
P8
Q2
HIJK
/ONML
P6
Introduction
Conclusion
Q2 Applied to Motive in Subject and I11-Inversion
HIJK
ONML
p11
Q2
HIJK
/ONML
p1
Q2
ONML
/HIJK
p3
Q2
OHIJK
/ NML
p5
Introduction
Conclusion
Product Network Encoding Subject and I11-Inversion
HIJK
ONML
P0
Q2
I11
34
ONML
HIJK
p11
ONML
HIJK
/ P10
Q2
I11
Q2

OHIJK
/ NML
p1
HIJK
ONML
/ P8
Q2
I11
I11
Q2

NML
/OHIJK
p3
HIJK
ONML
/ P6
Q2

NML
/OHIJK
p5
Our Theorem about duality guarantees this diagram commutes!
Introduction
Conclusion
Self-Similarity: Local Picture

29
@ABC
GFED
G
T9

GFED
@ABC
E
I1

GFED
@ABC
A
I11

GFED
@ABC
D
Introduction
Conclusion
Self-Similarity: Global Picture and Local Picture

8-11
PQRS
WVUT
Row 1
PQRS
WVUT
P5
T9
T9
57-60
PQRS
WVUT
Row 2

PQRS
WVUT
P2
I1
Q2

PQRS
WVUT
p11
I11
I11
1-4
PQRS
WVUT
Row 4

PQRS
WVUT
P0
Q2
T9
Q2
I1
34-37
PQRS
WVUT
Row 3
PQRS
/ WVUT
P3

PQRS
/ WVUT
P0
Q2
Q2
Q2

PQRS
/ WVUT
P10
Q2

PQRS
/ WVUT
p3
Q2
Q2

PQRS
/ WVUT
P8
I1
Q2
I11

WVUT
/ PQRS
P8
PQRS
/ WVUT
P11
T9
I1
I11

WVUT
/ PQRS
P10
Q2
T9
I1

PQRS
/ WVUT
p1
PQRS
/ WVUT
P1

PQRS
/ WVUT
p5
I11
Q2

PQRS
/ WVUT
P6
Introduction
Conclusion
Utility of Theorems
Again, our Theorem about duality allows us to make this
product network.
More importantly, the internal structure of the four-note
motive is replicated in transformations that span the work as
whole. Thus local and global perspectives are integrated.
These groups also act on a second musical space S in the
piece, which allows us to see another kind of self-similarity:
certain transformational patterns are shared by distinct
musical objects!
Introduction
Conclusion
Summary
In this lecture I have introduced some of the conceptual

categories that music theorists use to make aural impressions
into vivacious ideas in the sense of Hume.
These included: transposition and inversion,
the PLR group,
its associated graphs on the torus,
and duality.
Introduction
Conclusion
Summary
We have used these tools to find good ways of hearing music

from Hindemith, the Beatles, and Beethoven. Some of these
ideas would have been impossible without mathematics.
I hope this introduction to mathematical music theory turned
your impressions of music theory into vivacious ideas!

Groups Actions in Neo-Riemannian Music Theory

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Groups Actions in Neo-Riemannian Music Theory

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Introduction

Transposition and Inversion

Groups Actions in neo-Riemannian Music Theory

Mathematics is a very powerful descriptive tool in the physical

Material from this talk is from:

Thomas M. Fiore and Ramon Satyendra. Generalized

Alissa Crans, Thomas M. Fiore, and Ramon Satyendra.

What is Music Theory?

Music theory supplies us with conceptual categories to

Who Needs Music Theory?

The Z12 Model of Pitch Class

Figure: The musical clock.

Figure: The musical clock.

Major and Minor Triads

The set S of consonant triads

Major and Minor Triads

Figure: I0 applied to a C -major triad

Neo-Riemannian Music Theory

The neo-Riemannian Transformation P

The set S of consonant triads

The neo-Riemannian Transformation P

The set S of consonant triads

The neo-Riemannian Transformations L and R

Minimal motion of the moving voice under P, L, and R.

Example: The Elvis Progression

The Elvis Progression I-VI-IV-V-I from 50s Rock is:

Example: The Elvis Progression

The Elvis Progression I-VI-IV-V-I from 50s Rock is:

Example: Oh! Darling from the Beatles

The neo-Riemannian PLR-Group and Duality

The Oettingen/Riemann Tonnetz

The Dual Graph to the Tonnetz

Figure: The Tonnetz.

Figure: Douthett and Steinbachs

The Dual Graph to the Tonnetz

Figure: Douthett and Steinbachs

Figure: Wallers Torus.

Beethovens 9th, 2nd Mvmt, Measures 143-17 (Cohn)

Thus Far We have seen:

Extension of Neo-Riemannian Theory

Theorem (FioreSatyendra, 2005)

Extension of Neo-Riemannian Theory: Duality

Then K and Q1 generate the centralizer of the T /I group of order

Subject of Hindemith, Ludus Tonalis, Fugue in E

The Musical Space S in the Fugue in E

Q2 Applied to Motive in Subject and I11-Inversion

Q2 Applied to Motive in Subject and I11-Inversion

Product Network Encoding Subject and I11-Inversion

Our Theorem about duality guarantees this diagram commutes!

Self-Similarity: Local Picture

Self-Similarity: Global Picture and Local Picture

In this lecture I have introduced some of the conceptual

We have used these tools to find good ways of hearing music

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