I hope it is clear...that the ways in which pitches represent pitch classes, and the ways pitch classes abstract pitch, must be examined in order to describe any kind of musical sense or progression, and that if one steps back into abstracted considerations derived without respect to such concerns, an understanding of the qualities of musical uniqueness will continue to be suppressed in favor of generalizations, which at best evoke a vague sense of what a piece may be doing, perhaps in common with some other pieces, but not what one piece is doing, all by itself.
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Lansky, Paul (1975). Pitch-Class Consciousness, Perspectives of New Music XIII/2 (Spring-Summer).Paul Lansky
The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable signifigance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.
George Perle
Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2 (November 1987).
George Perle
I would not want you to suppose that my rejection of Allen Forte's theory of pitch-class sets implies a rejection of the notion that there can be such a thing as a pitch-class set. It is only when one defines everything in terms of pitch-class sets that the concept becomes meaningless.
George Perle
“I’m star-struck when I see Paul Scholes because you never see him. On the pitch you can’t catch him. Off the pitch he disappears.”
Paul Scholes
I trained with the lad last season at Southampton for two or three weeks. In all the years I played there was never anything I saw on a training pitch that took my breath away, but he was doing things on the pitch that made me stand up and say 'Wow'. He could go on and make a better player than Wayne Rooney.
Theo Walcott
Lansky, Paul
Lantos, Tom
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