Algebraic Topology: The Triad as Place and Action: a Transformational Perspective on Stability
by Thomas Noll (Escola Superior de Musica de Catalunya)
Recent transformational approaches to the study of triads are based on group actions on the set of the major and minor triads. A particular music-theoretical interest in this subject is driven by the possibility of parsimonious voice leadings between certain triads. To each triad X, say X = {C, E, G}, (considered modulo octave) there are three triads P(X)= {C, Eb, G}, L(X)= {E, G, B}, R(X)= {A, C, E}, each sharing two tones with X. What distinguishes triads from arbitrary 3-chords is the small amount by which the third tone has to be displaced: In the case of P(X) it is an augment prime (E -> Eb), in the case of L(X) it is a minor second (C-> B) and in the case of R(X) it is a major second (G -> A). Richard Cohn therefore speaks of the "over-determined triad", as - traditionally - the music-theoretical prominence of the triad is explained in terms of consonance.
My pre-talk is dedicated to yet another property which can be added to the list of over-determining decorations of the triad. This property provides a conceptual link between (the discussion about) Hugo Riemann's concept of consonance on the one hand and the Neo-Hugo- Riemannian transformations P, L, R as mentioned above, on the other. This approach is based on a transformational investigation of the intervallic constitution of the triads. Each triad is studied as a sub-action of a monoid-action of an 8-element monoid on Z12. Each transformation is a Twelve-Tone-Operation (an affine endomorphism of Z12) which stabilizes the triad in question and which extrapolates an association of an internal interval of the triad with its fifth. With this approach I hope to make a contribution to an abandoned discourse between Hugo Riemann and Carl Stumpf and in particular to an elaboration of Stumpf's concept of the triad as a concord of consonances.
Mathematically the approach is an application of elementary topos theory. The Neo-Riemannian transformations P, L, R can be studied as equivariant maps between monoid actions (i.e. as arrows in an associated topos). The structure of the sub-object classifier and its Lawvere-Tierney topolgies allow to draw link between the different qualities of tones in the complement of a triad as such, and the roles of these tones as images of proper triad tones under the transformations P,L, R on the other. In a way, this approach is an attempt to actualize Hugo Riemann's vision of the theory of harmony as a "musical logic".
I will refer to two musical examples and related discussions in music theory: the first movement of Schubert's sonata in Bb (D 960) as discussed by Richard Cohn and by Balz Trümpy and the last study of Alexander Skriabin Op. 65 No. 3 as discussed by Clifton Callender.
This is the Pretalk, see also the abstract below for the talk at 3:00.