EXAMPLE TESTING
Example 1. Henri Pousseur, Trois chants sacrés, transcription of the end of the second movement
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Example 2. Pierre Boulez, Polyphonie X, first movement, harmonic fields mm. 10–15; the pitch registration causes a gradual detachment of the tritone from the minor third
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Example 3. Pierre Boulez, Polyphonie X, first movement, mm. 10–15 (score in C), facsimile of the fair copy in the SWR Notenarchiv Baden-Baden, D 4098
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Example 4. Pierre Boulez, Polyphonie X, first movement, harmonic fields mm. 30–32
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Example 5. Pierre Boulez, Polyphonie X, first movement, mm. 75–77 (score in C), tritone “imitations” in oboe, flute, trumpet and first violin
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Example 6. Pierre Boulez, Polyphonie X, first movement, mm. 78–80 (score in C), tritone “imitations” in clarinet, oboe, flute and first violin
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Example 7. Pierre Boulez, Polyphonie X, first movement, mm. 79–81 (score in C), low-registral minor third “imitations” in clarinet, trombone and first cello
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Example 8. Pierre Boulez, Polyphonie X, first movement, mm. 82–85 (score in C), high-registral minor third “imitations” in piccolo flute, oboe and trumpet
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Example 9. Pierre Boulez, Polyphonie X, first movement, harmonic fields of the first Assez lent section (mm. 75–96).
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Example 10. Pierre Boulez, Polyphonie X, first movement, mm. 75–80 (score in C), facsimile of the fair copy in the SWR Notenarchiv Baden-Baden, D 4098
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Example 11. Pierre Boulez, Polyphonie X, prime form of fφ
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Example 12. Pierre Boulez, Polyphonie X, mm. 1–15, transpositions of fφ(I) per instrumental group (numbered 1–7, group 6 being silent); the table indicates the first pitch class of each transposition
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Example 13. Pierre Boulez, Polyphonie X, segments of β5(I) and β5 used in mm. 75–79
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Example 14. Marco Stroppa, Hommage à Gy. K., first movement, mm. 1–8
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Example 15. György Kurtág, Hommage à R. Sch., first movement, transcription of the initial sixteenth-note motive in the clarinet, m. 1, notation in C
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Example 16. Marco Stroppa, Hommage à Gy. K., first movement, pitch class sequences and harmonic fields of every occurrence of the piano motive
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Example 17. Marco Stroppa, Hommage à Gy. K., first movement, harmonic fields of the first 7 instances of the piano motive
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Example 18. Marco Stroppa, Hommage à Gy. K., first movement, harmonic fields of instances 8–14 of the piano motive
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Example 19. Marco Stroppa, Hommage à Gy. K., first movement, harmonic fields of instances 15–27 of the piano motive
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Example 20. Kentaro Taki, Living in the Box (2012), screenshot of the video material that is reused in Yukiko Watanabe’s Living in the Box II (by courtesy of Mori Yu Gallery)
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Example 21. Yukiko Watanabe, Living in the Box II, mm. 1–4.
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Example 22. Yukiko Watanabe, Living in the Box II, harmonic fields A, B, and C
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Example 23. Yukiko Watanabe, Living in the Box II, mm. 71–74
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Example 24. Yukiko Watanabe, Living in the Box II, mm. 75–82
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Example 25. Yukiko Watanabe, Living in the Box II, mm. 105–7
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