Volume 17, Number 1, April 2011
Copyright © 2011 Society for Music Theory
A GAP Tutorial for Transformational Music TheoryRobert W. PeckKEYWORDS: computerassisted research, transformational music theory, group theory, Klumpenhouwer networks, neoRiemannian theory ABSTRACT: GAP (an acronym for Groups, Algorithms, and Programming) is a system of computational discrete algebra that may function as an application for experimentation in transformational music theory. In particular, it offers tools to music theorists that are not readily available elsewhere. This tutorial will show how GAP may be used to generate algebraic group structures well known to music theorists. Furthermore, it will investigate how these structures may be applied to the study of transformation theory, using familiar concepts from Klumpenhouwernetwork and neoRiemannian theories.

[1] About GAP [1.1] GAP (an acronym for Groups, Algorithms, and Programming) is a mathematical software package that has great potential as a tool for researchers and students of transformational music theory. Whereas many computer resources are available to music theorists in the investigation of pitchclass set theory and serial theory—pitchclass set calculators, matrix generators, and the like—few, if any, permit users to construct, analyze, and manipulate algebraic systems themselves. Such techniques, however, are an increasingly large part of the transformation theorist’s methodologies. It is often necessary to consider concepts such as the subgroup structure of a group, or to determine a group’s automorphisms. Whereas one can do such calculations by hand, the speed at which GAP performs them can dramatically increase efficiency of time for research. From a pedagogical point of view, GAP provides students of transformation theory a resourceful and effective environment for experimentation, and a means of providing preliminary empirical proofs for their results. [1.2] GAP was developed by and for mathematicians and other computational scientists. It began in 1986 as a project by four students at RWTH Aachen University, in Aachen, North RhineWestphalia, Germany: Johannes Meier, Alice Niemeyer, Werner Nickel, and Martin Schönert. Its first public release was in 1988, with version 2.4. Since that time, it has undergone a number of revisions, and has assumed worldwide recognition,^{(1)} although it has not received much attention in musictheoretical research.^{(2)} GAP 4.4.12 is the latest version. It is free and is available for Windows, Macintosh, and UNIX operating systems, along with all its documentation, at www.gapsystem.org. An interactive online version is also available via Sage (see [2.18] below). [1.3] This tutorial endeavors to introduce some of the utilities in GAP to the musictheoretic community in the context of familiar transformationtheoretical concepts: transformation groups and their actions, Klumpenhouwer networks, and neoRiemannian theory. Therefore, it presupposes a basic—but not advanced—understanding of these concepts, and no prior knowledge of GAP. After an initial section that describes the basics of the GAP environment (how to input commands, interpret output, get help, etc.), we generate the transposition group T, the transposition and inversion group T/I, and the affine group TTO. We examine how these groups act on the set of pitch classes and on sets of pitchclass sets, and perform various tests that relate them to wellknown abstractalgebraic structures. Next, we use GAP to study Klumpenhouwer networks, generating the automorphism groups from which Knet isographies derive. Finally, we consider the Schritt and Wechsel group of neoRiemannian theory, how it relates to the transposition and inversion group, how these are subgroups of Hook’s (2002) Uniform (and Quasiuniform) Triadic Transformations, and how to generate other related groups of contextual operations. [2] Orthographic conventions and GAP commands [2.1] Throughout this tutorial we use certain orthographic (i.e., notational) conventions, which sometimes differ from those commonly used in music theory. In some instances, these conventions are required by GAP; at other times, they are not necessary, but are more consistent with standard mathematical conventions. For instance, although it is not required by GAP, we represent all operations with lowercase letters: g := (1,2,3)
This notation differs from the common practice in music theory of using uppercase letters for certain operators, such as T_{n} and I. For these particular operators, we instead use t^{n} and i, respectively (see section [3] below). Operations also appear in cyclic notation. In the case of g above, the parenthetical expression (1,2,3) tells us that, under g, the integer 1 moves to 2, 2 moves to 3, and 3 moves back to 1. The result is a permutation of order 3 (i.e., a 3cycle). In contrast, under h, 1 moves to 2, and 2 moves directly back to 1 (i.e., a 2cycle, or involution). Then, the composition of g and h, gh = (1,2,3)(1,2), sends 1 to 2 under g, but then 2 back to 1 under h. Hence, it fixes (or stabilizes) 1. Further, it sends 2 to 3 under g, where it remains under h; and it sends 3 to 1 under g, and 1 to 2 under h. Overall, it stabilizes 1, sends 2 to 3, and 3 to 2, so gh = (2,3).^{(3)} [2.2] We use multiplicative notation rather than additive notation, even for abelian (i.e., commutative) groups: g × h, or gh
Furthermore, GAP uses rightfunctional orthography (i.e., read from right to left). That is, in the composition gh, perform g first, then h. This practice differs from the leftfunctional notation commonly used in music theory, where, for instance, the operation T_{n}I means invert first (I), then transpose by n (T_{n}). [2.3] We represent sets, groups, and other algebraic structures with uppercase letters: G := Here, the angle brackets signify that G is the group generated by g and h. Additionally, we give functions that map such structures to one another (morphisms) with Greek letters; but as GAP reads only ASCII characters, we spell out these Greek letters: pi : G^{pi} → H, where g^{pi} × h^{pi} = (g × h)^{ pi},
In GAP, we use exponential notation for functions, as in the example above, rather than prefix notation, which is more common in musictheoretical writing. In other words, we write G^{pi}, rather than pi(G). In this case, G^{pi} indicates a function pi that maps G to H, where g^{pi} is the image of g in the mapping, h^{pi} is the image of h, and so on. Such functions may be homomorphisms, as in this example; isomorphisms, which are onetoone; surjective homomophisms; or automorphisms, which are isomorphisms of a group to itself. [2.4] Rightfunctional orthography is also consistent with GAP’s use of exponential notation for functions. The product of functions alpha and beta (in that order) applied to a structure G receives the exponential notation: (G^{alpha})^{beta} = G^{alpha}^{⋅ beta} whereas in prefix notation we would have: beta(alpha(G)) = beta ⋅ alpha(G) reading from the right to the left. [2.5] In cases where gh indicates a composition of group elements that act on a set S, or on a member x of that set, we once again use exponential notation, such as S^{gh}, or x^{gh}, rather than prefix notation, such as h(g(S)) or h(g(x)). Finally, because we use multiplicative notation, we also use exponential notation for exponents in the usual sense (powers): g × g = g^{2}, g × g × g = g^{3}, etc. [2.6] Throughout this tutorial, GAP commands are given in red, and GAP’s corresponding output appear in blue.^{(4)} N.B.: GAP is case sensitive. All commands are entered at the GAP prompt “gap>” (see the bottom of Example 1), and end in a semicolon (followed by [enter]). GAP commands may be typed with or without spaces. In GAP, we may define various objects using the standard notation “:=” for definition. These objects include operations:
GAP places the output on the line(s) below the defining commands. In this case, the output confirms the definition by redisplaying the cyclic permutations that g and h represent. [2.7] We may similarly define algebraic structures:
Again, the output confirms the structure that is being defined: the group generated by g and h in the first case, and the subgroup of G generated by g in the second. Notice, however, that the output alone of the second command does not indicate that N is the subgroup of G generated by g. [2.8] We may also call objects from one of GAP’s libraries:
Here, the dihedral group of order 6 is a purely abstract algebraic structure, not a permutation group such as G above. The output confirms the size of the group, tells how many generators GAP uses to build the group, and references a particular type of abstract structure: a “pc group.” The term “pc” in the output does not abbreviate “pitchclass,” as appears commonly in music theory. Rather, it stands for “polycyclic,” a type of group structure that includes the dihedral groups. Then, the elements of the D_{6} are not permutations, such as (1,2,3) and (1,2), but rather compositions of abstract generators f1 (of order 2) and f2 (of order 3), as seen in the output of the following command. [2.9] We may define morphisms and other mappings:
The output for this command tells us that GAP has located an isomorphism from D_{6} to G; otherwise, the output would indicate “fail.” (N.B.: In cases such as this one, where more than one possible isomorphism exists, GAP selects only one to display.) The isomorphism pi is a mapping of every element of D_{6} to one of G, but the output presents this isomorphism merely in terms of (abstract) generators of D_{6}, f1 and f2, and their images in G, from which the mappings of the additional group elements may be derived (e.g., h = (1,2) = (2,3)(1,2,3) in G is the image of f1 ⋅ f2 in D_{6}). Table 1 provides a mapping for all six elements in each of the respective groups. [2.10] We may display objects, including those defined previously:
Whereas the output to the “g;” command above displays a single cyclic permutation, the output for “List(G);” presents all six group elements in G. The empty parentheses, (), in the output that follows the latter command denotes the identity element of the group—for example, the trivial permutation, which sends each member of the set on which G acts (i.e., the integers 1, 2, and 3) to itself. [2.11] Additionally, we may determine products, factors, quotients, etc.:
The outputs of the first two commands above are straightforward enough from the preceding discussion, but those of the third and fourth commands need further comment. The output of the third command tells us that the direct product is a group of order 36 (or 6^{2}, accordingly, as the two groups in the direct product are of size 6), and that it has four generators (i.e., the respective generators of G and D_{6}: g and h, and f1 and f2). The fourth command calls a quotient group, which consists of the various cosets of N in G. The f1 in the output to this line signifies one of those cosets, and does not refer to the other f1 above (a generator of D_{6}). [2.12] In GAP, we may perform various functions, arithmetic and otherwise:
and run various tests:
[2.13] We may enter two or more commands on a single line (each followed by a semicolon), and GAP displays their respective output on adjacent successive lines:
Long commands may be broken by (enter) before reaching the semicolon. In these instances, GAP continues the command line on a subsequent line with a simple “>” prompt:
The syntax of the above command is complex, but follows a certain logic. In a series of parentheticals, we are asking GAP first to establish the automorphism group for G (AutomorphismGroup(G)); second, to determine which of the automorphisms in this group are inner, hence derive from conjugation by a group element (InnerAutomorphismsAutomorphismGroup); and finally, to display how many of these inner automorphisms exist (Size). The output tells us that the inner automorphism group for G contains only one member. [2.14] We may suppress output for a command that would normally produce it by following the command with two semicolons:
GAP stores a history of command lines for any one session. Users may recall a previous command by using the ↑ (uparrow) key repeatedly as needed, and/or with the ↓ (downarrow) key, to scroll through the history. Finally, to end a session, we use:
[2.15] Rather than retyping GAP commands into every session, we may create programs, which are stored as normal text files. The programs may then be loaded into a GAP session. In this way, we can easily set up an environment for continued experimentation. For instance, all the commands used in sections [3][5] of this tutorial appear in the text file “SampleGAPprogram.txt” that accompanies this article. To load this program into a GAP session, we use the command:^{(5)}
Notice that there is no output following this command, even though the commands the program contains would normally produce it. Consequently, there is no particular need for a program to include commands other than definitions. Once such a program is read, the user can simply call display commands, describe further definitions, run tests, and so on. Programs may also contain remarks, which GAP does not treat as commands. Remarks are prefaced with the pound sign, and do not end with a semicolon:
Again, there is no output. [2.16] Help for GAP users is available in several ways. First, the GAP website offers a number of online manuals, including tutorials, FAQ, examples, and instructions for joining the GAP Forum email distribution list. Help is also available within a GAP session; one may find help on a particular topic by typing a search term preceded by a question mark (again, the semicolon is not used):
At a subsequent GAP prompt (which need not be immediate), we may enter the number of the entry we wish to read, following a question mark:
GAP then prompts for some form of continuation or exit from the manual; for example, n or q The [space], n, etc., are not followed by a semicolon (nor by ). [2.17] On encountering an error, the output provides a description of the problem, whether it is syntactical:
or logical:
In the latter instance, we are given the opportunity to exit the description by typing
at the break prompt, or by continuing the description:
Entering either brk> return; or brk> quit; at this point continues or quits the description accordingly. [2.18] Users may also access GAP on the World Wide Web via the mathematics software system Sage: http://www.sagemath.org/. Including GAP, Sage has interfaces for Mathematica, Magma, and several other mathematics applications useful to music theorists. Therefore, in addition to computational discrete algebra, Sage may be used to study other algebras, calculus, number theory, cryptography, numerical computation, combinatorics, graph theory, and the like. [2.19] To work in an online GAP session in Sage, create a notebook (or edit a preexisting notebook). First, go to www.sagenb.org. Then, either sign in to an existing account, or register for a new one and sign in. For a new notebook, click on “new worksheet,” and title it. This takes you to a worksheet (see Example 2). From the dropdown menu near the top, select “gap” (“sage” is the default). Type a GAP command into the first cell, and click on the corresponding “evaluate” link to display its output. A new cell appears, in which you may type the next command, and so on. You may save your worksheet (by clicking the “save” button), and publish your worksheet (by clicking the “publish” button). The latter gives you a URL, through which others may view your notebook. For example, a notebook “GAP – MTO,” which contains all of the commands in this tutorial, may be found at http://sagenb.org/pub/1117/. [3] Generating the T, T/I, and TTO groups [3.1] Now let us build some familiar musictheoretical groups using GAP. In this section, we generate the transposition group T, the transposition and inversion group T/I, and the affine group TTO that includes the transpositions, inversions, and various multiplicative operations. We also examine how GAP can model these groups’ actions on pitch classes and pitchclass sets, and how they relate to various abstract algebraic structures. [3.2] Call T the musical transposition group (mathematically, a translation group).^{(6)} T has an action on the set PCS of twelve pitch classes (residue classes of the infinite set of chromatic pitches under enharmonic and octave equivalence). We may use GAP to model groups such as T, using a permutation representation on some subset of the positive integers. Such representations in GAP do not incorporate the integer 0, to which the pitch class C is usually mapped.^{(7)} Instead, we map pitch class C to the integer 12. [3.3] Put
Hence, we may define a unit transposition t (translation), a pitchclass transposition “up” one semitone:
In other words, t is merely another notation for the operation that is more commonly written T_{1}, using instead a lowercase letter for the variable name. The output shows t in cyclic notation: under t, pitch class 1 maps to 2, 2 to 3, and so on through 11 to 12, and 12 back to 1. [3.4] We may compose operators using multiplication, such as t with t (T_{1} with T_{1}):
Notice that the output for this command contains two cycles: one that passes through the even pitch classes, and one that passes through the odd pitch classes. Such cycles are by definition distinct. [3.5] We may also use exponents for an operator composed with itself, as before: ^{(8)}
Here, t^{2} agrees with the operation commonly notated as T_{2}. [3.6] We may show inverses:^{(9)}
In other words, t^{1} conforms to T_{11} (= T_{1}), and (t^{2})^{1} = t^{2} to T_{10} (= T_{2}). We may also test for such equivalences:
[3.7] We can use t as a generator of a group, T:
The output for this command confirms that T is the group generated by t, where t is the permutation (1,2,3,4,5,6,7,8,9,10,11,12). T is isomorphic to the cyclic group of order 12, C_{12}:
The output for this command needs some explanation. First, GAP is telling us that it has located an isomorphism from T to C12; otherwise, it would return the message “fail.” However, rather than describing the isomorphism in terms of the generator t of T that we defined previously, GAP uses t^{3} and t^{4} (T_{3} and T_{4}), which together also generate T. (The specific reason for this choice of generators has to do with GAP’s internal programming logic, and is somewhat outside the scope of this tutorial.) Then, GAP maps these generators to f3 and f1 ⋅ f2, abstract generators of the cyclic group of order 12 that are stored in GAP’s internal library. Again, the important point here is that an isomorphism exists. [3.8] We may verify the order of T: and display its elements:
In this output, GAP returns the elements in cyclic notation, in the order t^{0}, t^{8}, t^{4}, t^{10}, t^{6}, t^{11}, t^{7}, t^{3}, t^{9}, t^{5}, t (T_{0}, T_{8}, T_{4}, T_{10}, etc.). (As before, GAP’s logic for listing the elements according to this scheme is outside the scope of this tutorial, but this ordering is also featured in the next few sections.) [3.9] GAP can determine the orbit of a pitch class under the members of the T group, shown here using pitch class 1:
The orbit consists of the members of the set of pitch classes to which pitch class 1 maps under the elements of the T group. That is, 1 maps to 1 under t^{0} (T_{0}), to 9 under t^{8} (T_{8}), to 5 under t^{4} (T_{4}), and so on, through all twelve pitchclass transpositions. Notice here that GAP’s ordering of pitch classes in the output follows the same ordering of group elements in the output to the “List(T);” command above. Furthermore, because the action of T on PCS is transitive,
pitch class 1 maps to all twelve members of the set of pitch classes. [3.10] GAP can also display the orbit of an unordered set of pitch classes (a pcset), such as a C major triad {0,4,7} (recalling that we use the integer 12 in place of pitch class 0):
Here, the output shows (in successive squarebracketed sets) the pitchclass sets to which the C major triad maps under members of the transposition group: C major, E major, [3.11] GAP can also model orbits of pcsets on which the action of T is not faithful, such as the augmented triad {0,4,8}:
Here, the output shows the four augmented triads to which {0,4,8} can map under the members of the transposition group. We say the action of T is not faithful on this set of sets, because certain nonidentity elements of the group (specifically t^{4} [T_{4}] and t^{8} [T_{8}]) are indistinguishable from t^{0} [T_{0}]; that is, they hold all four augmented triads invariant. [3.12] Next, define the inversion operation i (the label we use in GAP for the operation I, or I_{0}):
The output for this command merely echoes the cycles of pitch classes we use to define the operation. (N.B.: Both the input and the output omit the singleton cycles of pitchclasses 0 [= 12, in GAP] and 6, both of which are held invariant under inversion). Moreover, because GAP uses rightfunctional instead of leftfunctional orthography, our notation for the composition of inversion with transposition always appears in the opposite order than that which is typically found in music theory. For instance, the operation T_{1}I (or I_{1}) appears as it; T_{2}I (or I_{2}) as it^{2}; and so on. [3.13] Together, t and i generate the transposition and inversion group T/I:
Again, the output shows the cycles of the operations we use to generate the group. T/I is isomorphic to the dihedral group of order 24, D_{24}:
As with the output for the command above that demonstrated an isomorphism of T to C_{12}, this output tells us that GAP has found an isomorphism from T/I to D_{24}; and, as before, it gives the isomorphism in terms of various generators of the respective groups. Unlike the earlier example—wherein GAP substituted generators t^{3} [T_{3}] and t^{4} [T_{4}] of T for the generator t [T_{1}] that we had used to define the group—GAP does not make such a substitution in this instance. Rather, it uses the generators t [T_{1}] and i [I_{0}] of T/I that we supplied. Then, the isomorphism maps these generators to generators of the abstract group D_{24}, f2 and f1 ⋅ f3 ⋅ f4^{2} that are stored in GAP’s library. [3.14] We incorporate Morris’s (1982) multiplicative operation m (usually given as M or M_{5} in musictheoretical writings) on pitch classes. That is, m : x ↦ 5x mod 12, for all x ∈ PCS:^{(11)}
Again, the output confirms the cycles we entered, and both the input and the output omit the singleton cycles. [3.15] Adjoining m to T/I yields a group TTO of order 48, the set of affine transformations on ℤ_{12}:
The output for this command confirms that TTO is the group generated by these cycles. TTO is isomorphic to the direct product of the dihedral groups of orders 6 and 8, D_{6} × D_{8}:
In the output to this command, the generators t [T_{1}], i [I_{0}], and m [M_{5}] of TTO are mapped to products of f1, f2, f3, f4, and f5, generators that GAP’s internal library uses to construct the relevant abstract group of order 48. Again, the important point here is that GAP has indeed located an isomorphism. [4] Klumpenhouwernetwork isographies [4.1] One way that we might use GAP as a tool for music theory is in the study of Klumpenhouwer networks (Lewin 1990, Klumpenhouwer 1991). Klumpenhouwer networks, or Knets, are directed graphs with nodes (vertices) labeled in the set of pitch classes and arrows (edges) in the T/I group (see Figure 1).
Entering the labels that correspond to the arrows in GAP, as above, produces an output that displays the cycle(s) in which the node contents lie. For instance, the (singleheaded) arrow that connects the node populated by pc 9 to that populated by 11 is labeled t^{2} (T_{2}); its cycles are as follows:
The pitch class 9 maps to the pitch class 11 (underlined), which, in turn, maps to 1, 3, 5, 7, and ultimately back to 9. Hence, it is a cycle of length 6 (a 6cycle). Because pitch class 11 continues on to 1 and does not return directly to 9, we use a singleheaded arrow in the network. [4.2] On the other hand, the cycles of operations in Figure 1 that connect pitch classes 9 and 6, and 11 and 6—it^{3} and it^{5} (I_{3} and I_{5}) respectively—are involutions. That is, they are their own inverses. Entering their corresponding arrow labels yields the following cycles of length 2 (2cycles):
In the first 2cycle, pitch class 6 maps to 9, and 9 to 6; in the second, 6 maps to 11, and vice versa. Hence, the network incorporates doubleheaded arrows to connect their associated nodes. [4.3] Entire networks may relate to one another via isographies, which correspond to members of the automorphism group for T/I, Aut(T/I):
The output indicates that Aut(TT/I) is a group of order 48, and it gives the number of generators that GAP uses to build it. As Lewin 1990 points out, this group—which acts on the twentyfour members of T/I—is isomorphic to TTO. We call this isomorphism alpha:^{(12)}
Under alpha, GAP sends the previously defined generators of TTO: t, i, and
m (T_{1}, I_{0}, and M_{5}), to three automorphisms of the T/I group that together generate the Aut(T/I) group. These automorphisms appear in the output (following the first arrow “>”) in terms of their respective actions on (arbitrary) generators of the T/I group: t^{5} and it^{4} (T_{5} and I_{4}).^{(13)} We may use Lewin’s (Lewin 1990) notation to label these automorphisms: F [4.4] As Aut(T/I) is isomorphic to TTO, and TTO contains T/I as a subgroup, it follows that Aut(T/I) contains a subgroup that is isomorphic to T/I; we call this subgroup
Hyp(T/I) (or hyperT/I). It consists of the T/I automorphisms with
u ∈ {1,11}. Call isographies that derive from automorphisms with u = 1 positive, and those with u = 11 negative. We may take the T/I automorphism that is the image of t (T_{1}) under alpha, F
We recall from [2.4] that the exponential notation used in this command (e.g., “t^alpha”) signifies a function, in this case an isomorphism. Then, the output provides merely a terse description of the structure being generated: a group with two generators; but it does not indicate size, or any other outward information. [4.5] Using an adaptation of Lewin’s later (Lewin 1994) notation for hyperT/I operators to our present orthography—
Notice that in the output to this command, the generator t^{5} (T_{5}) of T/I maps to itself, and the generator it^{3} (I_{3}) maps to it^{3+1} = it^{4} (I_{4}). [4.6] Similarly, GAP maps i (I_{0}) under alpha to the automorphism we call
Again, the output for this command shows an action on generators of the T/I group that results in a mapping of the group to itself; specifically, it demonstrates a mapping of t^{7} to t^{5} (T_{7} to T_{5}), and it^{3} maps to it^{(3+0)} = it^{9} (I_{3} to I_{9} ). Example 3. Schoenberg, Sechs kleine Klavierstücke, op. 19, no. 6, measures 1–6 (following Lambert 2002) (click to enlarge) Figure 2. Two positively isographic Knets from Lambert 2002 (click to enlarge) Figure 3. Two negatively isographic Knets from Lambert 2002 (click to enlarge) [4.7] Following Philip Lambert’s (Lambert 2002) analysis, Example 3 presents the first six measures of Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19, no. 6.^{(14)} [4.8] We note that the network labeled (a) in Figure 2—corresponding to the trichord labeled “a” in the example—relates to that labeled (b) by
We recall that, as a hyperoperator, [4.9] Similarly, the network labeled (a) in Figure 3 relates by
Again, the output shows the image (in cyclic notation) of network (a)’s arrows under the relevant hyperoperator, [4.10] It is now possible to determine the hyperoperator that relates network (b) to (d'), using the hyperoperators that relate (a) to (b) and (a) to (d'). We know already that
The cycles in the output agree with those of the operators that label the arrows in (d'), t^{10}, i, and it^{10} (T_{10}, I_{0}, and I_{10}). [4.11] The composition of hyperoperators
We may use it together with [4.12] We can further define a hyperm (hyperM_{5}) operation
As previously, the output here shows the action of the hyperoperator on (arbitrary) generators of the T/I group: t (T_{1}) and i (I_{0}), which get sent to t^{5} (T_{5}) and i (I_{0}), respectively.
[4.13] Then, define a hypermi operation
This latter hyperoperator sends t^{n} to t^{7n}, and it^{n} to it^{7n+0}, as demonstrated by the T/I generators in the output. Figure 5. Network (b) relates to (c) by t^{10}, but congruent nodes relate by t^{ 5} (click to enlarge)
[4.14] Klumpenhouwer (Klumpenhouwer 1998) observes, however, that the action of Lewin’s Hyp(T/I) operators on networks does not necessarily agree with the action of T/I on the nodes of congruent networks. For instance, the network labeled (b) in Figure 5 relates by
which has a natural action of T/I on itself. Here, the command “InnerAutomorphismsAutomorphismGroup(AutTI);” is telling GAP to locate the subset of inner automorphisms in the automorphism group Aut(T/I). [4.15] The inner automorphisms in fact form a normal subgroup of the full automorphism group, Aut(T/I), consisting of those automorphisms that derive from conjugations by group elements, where conjugation of element a by b equals the composition b^{1}ab. (GAP also uses exponential notation for conjugation; hence, a^{b} signifies a conjugated by b.) Hence, Klumpenhouwer describes hypert operations [t^{x}], in square brackets, that conjugate the members of T/I by t^{x} (conjugation by T_{x}).^{(18)} Such conjugations send t^{n} to t^{x}(t^{n})t^{x} = t^{n} (T_{n} to T_{n}), and it^{n} to tx(it^{n})t^{x} = it^{n+2x} (I_{n} to I_{n+2x}); and hyperit^{x} operations [it^{x}] that send t^{n} to (it^{x})^{1}(t^{n})it^{x} = t^{n} (T_{n} to T_{n}), and it^{n} to (it^{x})^{1}(it^{n})it^{x} = it^{n+2x }(I_{n} to I_{n+2x}). Thus, the network (b) in Figure 5 relates by [t^{5}] (conjugation by T_{5}) to that in (c), matching the t^{5} operation on PCS that relates congruent nodes:
The output shows the appropriate cycles of operators that label the arrows in (c). Note as well the use of exponential notation in the command (e.g., “(t^2)^(t^5);”), signifying conjugation by t^{5} (T_{5}). [4.16] We cannot describe an isomorphism between Hyp(T/I) and Inn(T/I), as Hyp(T/I) is of size 24, and Inn(T/I) is only of size 12. We may, however, describe a group homomorphism beta that maps Hyp(T/I) to Inn(T/I):
The output for this command merely denotes the presence of a homomorphism. The kernel of beta—those elements of Hyp(T/I) that map to the identity element of Inn(T/I)—is nontrivial:
As the output indicates, the kernel consists of two elements of Hyp(T/I). Using the “List” command, we discover that these two elements consist of the hyperoperators
First,
[4.17] Consequently, we cannot distinguish between permutations on T/I induced by conjugation by t^{0} or t^{6} (T_{0} or T_{6}), shown here on the generators t and i:
or by different members of any coset (left or right) of the kernel:^{(19)}
and so on for all the other cosets. [5] NeoRiemannian theory [5.1] Another area of musictheoretic research for which GAP is useful is neoRiemannian theory. This theory deals largely with contextual operations on the set of consonant triads, or Klänge.^{(20)} To that end, define an arbitrary consonant (major or minor) triad as an unordered pitchclass set (pcset):^{(21)}
Call the orbit of a pitchclass set under T/I a setclass (in this case, the set of pcsets to which a C major triad maps under the elements of the T/I group), and label the setclass of consonant triads K:
K, as a set, has twentyfour members (twelve major triads and twelve minor triads, all represented above) on which T/I acts:^{(22)}
In the output, we see that GAP maps the twentyfour members of K to the integers [1 .. 24]. In fact, its particular mapping of K to these integers has a basis in its memory of our definition in [3.13] of T/I as being the group generated by t and i (T_{1} and I_{0}). If we assign order numbers to the twentyfour triads in the output of the previous command, then C major [4, 7, 12] is 1, Csharp major [1, 5, 8] is 2, F minor [5, 8, 12] is 3, D major [2, 6, 9] is 4, E minor [4, 7, 11] is 5, and so on. Then, the generator t (T_{1}) carries 1 to 2, 2 to 4, 4, to 7, etc.; and i (I_{0}) takes 1 to 3, 2 to 5, and the like. Table 2 provides a list of these triads and their corresponding labels. The action of the T/I group on the set of twelve pitch classes is isomorphic to its action on the twentyfour members of K. Call this isomorphism gamma:
Define the image of t under gamma:
and the image of i under gamma:
[5.2] T/I’s action on K has a permutation representation on [1 .. 24] that is a subgroup of the symmetric group on that set:^{(23)}
A classical result in transformational music theory (Lewin 1987) states that the centralizer in S_{24} of T/I’s action on K is the Schritt/Wechsel group, S/W, of neoRiemannian theory:^{(24)}
(The output here shows a particular Schritt and Wechsel pair as the generators of S/W.) This result is related to one in permutation group theory, which states that because the action of T/I on K is regular (simply transitive),
it is isomorphic to its centralizer (Dixon and Mortimer 1996). Call this isomorphism delta:
We note that delta sends T/I to S/W, which GAP shows in the output terms of generators for the respective groups, as they act on K. [5.3] Call s (unit Schritt) the image of t under delta:
It sends the major triads “up” by a semitone (C major,
Recall the mapping in Table 2. We note that w is a Wechsel. It sends each major triad to a minor triad, and vice versa, where the respective triadic roots form a consistent interval: 1 goes to 9 (C major to G minor), 2 to 13 ( [5.4] The canonical neoRiemannian exchanges with parsimonious voice leading (parallel, relative, and leadingtone) may then be defined as follows:
Moreover, other useful operations, such as Cohn’s (Cohn 2004) hexatonic pole, may be defined as compositions of these exchanges:
[5.5] Next, generate the cyclic T group acting on consonant triads:
Again, the output shows the cycles of the generator t (T_{1}) as it acts on K. The centralizer in S_{24} of T’s action on K is another wellknown group in neoRiemannian theory, Hook’s (Hook 2002) set of 288 uniform triadic transformations (UTTs),
of which S/W is a subgroup:
[5.6] We can arrive at an isomorphic structure on [1 .. 24] that is perhaps more intuitive. Let [1 .. 12] represent the pitch classes that function as the roots of the major triads, and let [13 .. 24] represent the roots of the minor triads, where x and x+12 belong to the same pitch class. (That is, 1 and 13 both map to the pitch class C#; 2 and 14 to D; ..., 12 and 24 to C.) See Table 3.
[5.7] Hook’s UTTs are given in the form
Then, t^{+} represents the transposition (translation) factor on the Torbit of major triads,
where we now conjugate t (T_{1}, as it acts on [1 .. 12]) by the “plus” operation; and t^{} on minor triads,
given by conjugating t by the “minus” operation, which carries [1 .. 12] to [13 .. 24] as a set.
[5.8] We may model UTTs such as Hyer’s (Hyer 1995) dominant relation d =
The output of the first command sends 1 to 6 to 11, etc., in one orbit; and 13 to 18 to 23, etc., in another. Under our new labeling system, these integers refer to [5.9] Hook 2002 further describes a larger group, QTT, which adjoins the usual inversion operation to the UTTs. We can form this group as a wreath product of T/I acting on [1 .. 12] by S_{2} (the symmetric group of degree 2, consisting of two permutations, ( ) and (1,2)).
QTT contains several musically relevant subgroups of order 24, including Clough’s (Clough 1998) abelian (socalled) S/I group:^{(26)}
[5.10] In addition to the usual inversion operation, Kochavi 2002 describes five contextual inversion operators (cios) that may act on the set of consonant triads:^{(27)}
These cios may be used with t (acting on [1 .. 24]) to generate nonabelian order24 groups with an element of order 12:
Now we can identify (up to isomorphism) each of these groups, using GAP’s Small Group Library (see Table 4^{(28)}):^{(29)} Table 4. Isomorphism classes of the nonabelian subgroups (click to enlarge)
[5.11] Whereas QTT contains subgroups that are isomorphic to all the groups of order 24 with an element of order 12,^{(30)} it does not contain these particular subgroups. Rather, Douthett and Peck 2007 give a group of order 4608, M, which does contain Kochavi’s cios.^{(31)} M is a wreath product of TTO acting on [1 .. 12] by S_{2}:
[5.12] The two abelian groups of order 24 with an element of order 12 appear also as subgroups in M. Clough’s S/I group (from [5.9] above) is an example:
Its isomorphism class is as follows: S/I ≅ [24, 9] ≅ C_{12} × C_{2} The remaining case is left as an exercise for the reader.^{(32)} [6] Conclusions [6.1] The preceding discussion is intended to demonstrate GAP’s usefulness in studying transformational music theory. Whereas most of the examples recreate well known models, it has not been our purpose here to discover novel results. Nevertheless, GAP may function quite effectively in the pursuit of new theoretical systems. Moreover, it can be a valuable tool in transformation theory pedagogy, affording teachers and students an environment for experimentation with either existing or original concepts. [6.2] In addition to the standard grouptheoretical topics we have addressed thus far, GAP has many additional applications. It can be used to study other discrete algebraic structures, such as monoids, semigroups, fields, rings, vector spaces, matrices, and the like. What GAP is not capable of doing (at least not efficiently) is working with continuous and other infinite spaces, such as those found in Callendar, Quinn, and Tymoczko 2008. These topics may be explored computationally as well, but using applications other than GAP.
Robert W. Peck Works CitedAschbacher, Michael. 1986. Finite Group Theory. Cambridge: Cambridge University Press. Aschbacher, Michael. 1986. Finite Group Theory. Cambridge: Cambridge University Press. Callender, Clifton, Ian Quinn, and Dmitri Tymoczko. 2008. “Generalized Voice Leading Spaces.” Science 320: 346–348. Callender, Clifton, Ian Quinn, and Dmitri Tymoczko. 2008. “Generalized Voice Leading Spaces.” Science 320: 346–348. Clough, John. 1998. “A Rudimentary Geometric Model for Contextual Transposition and Inversion.” Journal of Music Theory 42, no. 2: 297–306. Clough, John. 1998. “A Rudimentary Geometric Model for Contextual Transposition and Inversion.” Journal of Music Theory 42, no. 2: 297–306. Cohn, Richard. 1998. “An Introduction to NeoRiemannian Theory: A Survey and Historical Perspective.” Journal of Music Theory 42, no. 2: 167–180. Cohn, Richard. 1998. “An Introduction to NeoRiemannian Theory: A Survey and Historical Perspective.” Journal of Music Theory 42, no. 2: 167–180. Cohn, Richard. 2004. “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society 57, no. 2: 285–323. —————. 2004. “Uncanny Resemblances: Tonal Signification in the Freudian Age.” Journal of the American Musicological Society 57, no. 2: 285–323. Dixon, John D., and Brian Mortimer. 1996. Permutation Groups. New York: SpringerVerlag. Dixon, John D., and Brian Mortimer. 1996. Permutation Groups. New York: SpringerVerlag. Douthett, Jack, and Robert Peck. 2007. “An Order 1152 Group of Triadic Transformations and Its Relevance to Existing Musical Theoretical Structures.” Paper presented at the “Special Session on Mathematical Techniques in Musical Analysis,” American Mathematical Society/Mathematical Association of America Joint National Meeting, New Orleans, Louisiana. Douthett, Jack, and Robert Peck. 2007. “An Order 1152 Group of Triadic Transformations and Its Relevance to Existing Musical Theoretical Structures.” Paper presented at the “Special Session on Mathematical Techniques in Musical Analysis,” American Mathematical Society/Mathematical Association of America Joint National Meeting, New Orleans, Louisiana. GAP Group, The. 2008. GAP—Groups, Algorithms, and Programming, Version 4.4.12. <http://www.gapsystem.org> GAP Group, The. 2008. GAP—Groups, Algorithms, and Programming, Version 4.4.12. <http://www.gapsystem.org> Hook, Julian. 2002. “Uniform Triadic Transformations.” Journal of Music Theory 46, nos. 1–2: 57–126. Hook, Julian. 2002. “Uniform Triadic Transformations.” Journal of Music Theory 46, nos. 1–2: 57–126. Hyer, Brian. 1995. “Reimag(in)ing Riemann.” Journal of Music Theory 39, no.1: 101–138. Hyer, Brian. 1995. “Reimag(in)ing Riemann.” Journal of Music Theory 39, no.1: 101–138. Klumpenhouwer, Henry. 1991. A Generalized Model of VoiceLeading for Atonal Music. Ph.D. diss., Harvard University. Klumpenhouwer, Henry. 1991. A Generalized Model of VoiceLeading for Atonal Music. Ph.D. diss., Harvard University. Klumpenhouwer, Henry. 1998. “The Inner and Outer Automorphisms of PitchClass Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks.” Intègral 12: 81–93. —————. 1998. “The Inner and Outer Automorphisms of PitchClass Inversion and Transposition: Some Implications for Analysis with Klumpenhouwer Networks.” Intègral 12: 81–93. Kochavi, Jonathan H. 2002. Contextually Defined Musical Transformations. Ph.D. diss., State University of New York, Buffalo. Kochavi, Jonathan H. 2002. Contextually Defined Musical Transformations. Ph.D. diss., State University of New York, Buffalo. Lambert, Philip. 2002. “Isographies and Some Klumpenhouwer Networks They Involve.” Music Theory Spectrum 24, no. 2: 165195. Lambert, Philip. 2002. “Isographies and Some Klumpenhouwer Networks They Involve.” Music Theory Spectrum 24, no. 2: 165195. Lewin, David. 1984. “Amfortas’s Prayer to Titurel and the Role of D in Parsifal: The Tonal
Spaces of the Drama and the Enharmonic Cflat/B.” NineteenthCentury Music 8, no. 3: 336–349. Lewin, David. 1984. “Amfortas’s Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic Cflat/B.” NineteenthCentury Music 8, no. 3: 336–349. Lewin, David. 1987. Generalized Musical Intervals and Transformations. New Haven: Yale University Press. —————. 1987. Generalized Musical Intervals and Transformations. New Haven: Yale University Press. Lewin, David. 1990. “Klumpenhouwer Networks and Some Isographies that Involve Them.” Music Theory Spectrum 12, no. 1: 83–120. —————. 1990. “Klumpenhouwer Networks and Some Isographies that Involve Them.” Music Theory Spectrum 12, no. 1: 83–120. Lewin, David. 1994. “A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg’s Opus 11, No. 2.” Journal of Music Theory 38, no. 1: 79–101. —————. 1994. “A Tutorial on Klumpenhouwer Networks, Using the Chorale in Schoenberg’s Opus 11, No. 2.” Journal of Music Theory 38, no. 1: 79–101. Morris, Robert D. 1982. “Set Groups, Complementation, and Mappings among PitchClass Sets.” Journal of Music Theory 26, no. 1: 101–44. Morris, Robert D. 1982. “Set Groups, Complementation, and Mappings among PitchClass Sets.” Journal of Music Theory 26, no. 1: 101–44. Morris, Robert D. 1987. Composition with PitchClasses. New Haven: Yale University Press. —————. 1987. Composition with PitchClasses. New Haven: Yale University Press. Peck, Robert. 2005. “GAP (Groups, Algorithms, and Programming): A Tool for ComputerAssisted Research in Music Theory.” Poster presented at Society for Music Theory National Meeting, Cambridge, Massachusetts. Peck, Robert. 2005. “GAP (Groups, Algorithms, and Programming): A Tool for ComputerAssisted Research in Music Theory.” Poster presented at Society for Music Theory National Meeting, Cambridge, Massachusetts. Peck, Robert. 2009. “Wreath Products in Transformational Music Theory.” Perspectives of New Music 47, no.1: 193–210. —————. 2009. “Wreath Products in Transformational Music Theory.” Perspectives of New Music 47, no.1: 193–210. Satyendra, Ramon, ed. 1998. Journal of Music Theory 42, no. 2. Satyendra, Ramon, ed. 1998. Journal of Music Theory 42, no. 2. Smyth, David. 2008. “More About Wagner’s Chromatic Magic.” Paper presented at the 31st Annual Meeting of Society for Music Theory, Nashville, Tennessee. Smyth, David. 2008. “More About Wagner’s Chromatic Magic.” Paper presented at the 31st Annual Meeting of Society for Music Theory, Nashville, Tennessee. Starr, Daniel V. 1978. “Sets, Invariance, and Partitions.” Journal of Music Theory 22, no. 1: 136–83. Starr, Daniel V. 1978. “Sets, Invariance, and Partitions.” Journal of Music Theory 22, no. 1: 136–83. Starr, Daniel, and Robert Morris. 1974. “The Structure of AllInterval Series.” Journal of Music Theory 18, no. 2: 364–89. Starr, Daniel, and Robert Morris. 1974. “The Structure of AllInterval Series.” Journal of Music Theory 18, no. 2: 364–89. Starr, Daniel, and Robert Morris. 1977–78. “A General Theory of Combinatoriality and the Aggregate.” Perspectives of New Music 16, no. 1: 3–35; and 16, no. 2: 50–84. —————. 1977–78. “A General Theory of Combinatoriality and the Aggregate.” Perspectives of New Music 16, no. 1: 3–35; and 16, no. 2: 50–84. Stein, William, et al. 2009. Sage Mathematics Software, Version 3.4. The Sage Development Team. <http://www.sagemath.org/> Stein, William, et al. 2009. Sage Mathematics Software, Version 3.4. The Sage Development Team. Footnotes1. A partial bibliography, including hundreds of published works that cite GAP, can be found at <www.gapsystem.org/Doc/Bib/gappublished.html>. 2. One example of GAP’s use in a musictheoretical context is Peck 2005. 3. The interested reader may also consult Dixon and Mortimer 1996 for more information. 4. GAP does not use this color coding; it is used here for clarity of presentation. 5. For GAP to read the command as it is given here, the program needs to be stored in the same directory from which GAP is launched. For example, using the default installation for Windows, that directory is C:\ gap4r4\bin. 6. Mathematicians refer to operations that music theorists normally call “transpositions” as “translations.” Mathematically speaking, a translation moves every point the same distance in the same direction, whereas a transposition exchanges only two elements in a set, and holds all other elements invariant. 7. GAP does, in fact, allow for modular arithmetic, but its inclusion here would add a level of complexity that is not necessary for our purposes. See the Help manual under gap> ?modulo. 8. The caret symbol “^” has several possible meanings in GAP, all relating to exponential notations. Here, it is meant literally as an exponent (i.e., t squared). It may also signify a function (see [4.3]), or a conjugation (see [4.15]). 9. Note the use of parentheses in the second subsequent GAP command (“gap> (t^2)^1;”). They are necessary, as exponentiation is generally nonassociative. 10. Music theorists frequently incorporate the notation “T/I” for the usual transposition and inversion group. This notation could be confusing to mathematicians, who might interpret it as a quotient (or factor) group, T mod I. As the subgroup generated by i is not normalized by T, however, such a quotient is not possible. For that reason, GAP renders an error if we attempt to label this group “T/I,” hence we use merely “TI” in GAP. 11. For earlier accounts of the m operation, particularly in the context of serial theory, see Starr and Morris 1974 and 1977–78, and Starr 1978. For a later, fuller treatment, see Morris 1987. 12. N.B.: When reading the accompanying program, “SampleGAPprogram.txt,” GAP may assign to alpha a different isomorphism of TTO to Aut(T/I) than the one shown in the output here: for instance, it may send TTO generators t, i, and m to hyperoperators F1,7, F11,5, and F5,8. As a result, we provide alternate definitions in the sample program for hypert and hyperi than those that appear below in [4.5] and [4.6]; namely, put gap> hyp_t := (t^7)^alpha; and gap> hyp_i := i^alpha*t^alpha. (Under this particular mapping, the hyperm operation in [4.12] does not require redefining.) The definitions that appear in the online Sage Notebook “GAP—MTO” are yet again slightly different. 13. Our GAP representation of the T/I group may be generated by any t operator of order 12 (t, t^{ 5}, t^{ 7}, or t^{ 11}) and any it^{ n}. Why GAP chooses here to model these automorphisms on generators t^{ 5} and it^{ 4} may seem arbitrary, but in fact has a basis in its programming beyond the scope of this tutorial. Incidentally, GAP may choose generators other than t^{ 5} and it^{ 4} on different computers running precisely the same software, or when reading a program vs. a series of typed commands. In these cases, we would need to redefine the hypert, i, and m operations in [4.5], [4.6], and [4.9] accordingly. 14. In turn, Lambert’s (2002) analysis of op. 19, no. 6, takes Lewin’s (1990) analysis of three of the piece’s sonorities as its point of departure. 15. Lambert (2002) offers initially a different interpretation of the trichord labeled “d” in our Example 3, which he calls “(d).” Subsequently, he offers a reinterpretation, which he labels “(d').” As we incorporate the latter interpretation here, we retain its labeling. 16. We can take for granted the existence of an inverse here, as the automorphisms of a group themselves form a group, and a group provides an inverse for each of its elements axiomatically. 17. This extension to Knet theory appears in Appendix B of Lewin 1990. There, he uses his earlier notation for these automorphisms: hence, F5,0 for the hyperm operation m we describe here; and F7,0 for hypermi, mi. 18. Note that Klumpenhouwer 1998 incorporates square brackets [ ] for hyperoperators that obtain from the inner automorphism group (i.e., those which obtain under conjugation), in contrast to the angle brackets Lewin 1994 uses for hyperoperators that derive from the Hyp(T/I) group. 19. Because the kernel is a normal subgroup (gap> IsNormal(HypTI,ker_beta); true), it does not matter whether we multiply on the left or the right in forming the cosets. 20. Lewin 1987 contains the first major work in neoRiemannian theory, although in this regard it draws on certain aspects of his earlier work (such as Lewin 1984). Cohn 1998 also offers an excellent introduction to the theory; indeed, the entire issue of Journal of Music Theory 42, no. 2 (Satyendra 1998) is devoted to neoRiemannian topics. 21. In reading the subsequent command, recall our earlier use of the integer 12 for pitch class C. In addition, neoRiemannian theory commonly incorporates the notation “+” for major triads and “” for minor triads. In GAP, we cannot use these symbols in variable names, as GAP considers them to be arithmetic operators. Therefore, we use “M” for major (e.g., “CM” in the subsequent command is read “C major”). 22. Similar to the situation in [4.3], fn. 12, GAP assigns a different mapping of K to [1 .. 24] when reading “SampleGAPprogram.txt.” As a result, in the program we obtain a different ordering for the neoRiemannian operations Schritt s and Wechsel w that appear below in [5.3]. Therefore, in the program, we must redefine the operations p, r, and l from [5.4] accordingly with gap> p := w*s^9;, gap> r := w;, and gap> l := w*s^5;. Another, similar situation obtains in the Sage Notebook “GAP—MTO.” 23. S_{24} is a sizeable group, of order 24! (gap> Size(S_24); 620448401733239439360000). Nevertheless, GAP is able to process the subsequent commands that incorporate it nearly instantaneously. 24. The centralizer in S_{24} of T/I’s action on K consists of all permutations on [1 .. 24] that commute with every member of T/I. 25. The minus operation (minus), defined in the subsequent command, is in essence the Parallel exchange; it is an involution that sends 26. Clough 1998 presents a group acting on consonant triads generated by a unit Schritt and an inversion, which he labels the “S/I group.” Whereas the group does contain the twelve familiar Schritts, it does not contain all twelve inversions. (Clearly, two inversions compose to form a transposition, not a Schritt.) In the same vein, he describes an isomorphic “T/W group.” Hook 2002 discusses these groups in the context of the QTT group. 27. Our labeling of Kochavi’s (2002) contextual inversions (i_{215}, i_{216}, ..., i_{219}) follows the numbering of Figures in his dissertation (Figures 2.15, 2.16, ..., 2.19, respectively) in which they are presented (and otherwise unlabeled). 28. In Table 4, the notation “Dic_{6}” refers to the dicyclic group of order 24 (= 4 ⋅ 6); “Q_{8}” to the quaternion group of order 8; and “C_{3} C_{8}” to the semidirect product of C_{3} by C_{8}. 29. The output for the subsequent gap> IdGroup(TI); command shows [ 24, 6 ], which tells us that T/I is isomorphic to the sixth group listed in GAP’s classification of the fifteen groups of order 24. The Small Group Library is not installed for Sage; hence, the last seven commands presented here are not included in the Sage Notebook “GAP—MTO.” 30. Fifteen groups of order 24 (up to isomorphism) exist, but seven of them do not possess an element of order 12, which is necessary if we want to model an operation such as transposition in these groups. 31. M, in the context of Douthett and Peck 2007, stands for “Mother Group.” It is not to be confused with Morris’s (1982) M operation. 32. One may alternatively consult the theorem in §3.8 of Hook 2002. A partial bibliography, including hundreds of published works that cite GAP, can be found at <www.gapsystem.org/Doc/Bib/gappublished.html>. One example of GAP’s use in a musictheoretical context is Peck 2005. The interested reader may also consult Dixon and Mortimer 1996 for more information. GAP does not use this color coding; it is used here for clarity of presentation. For GAP to read the command as it is given here, the program needs to be stored in the same directory from which GAP is launched. For example, using the default installation for Windows, that directory is C:\ gap4r4\bin. Mathematicians refer to operations that music theorists normally call “transpositions” as “translations.” Mathematically speaking, a translation moves every point the same distance in the same direction, whereas a transposition exchanges only two elements in a set, and holds all other elements invariant. GAP does, in fact, allow for modular arithmetic, but its inclusion here would add a level of complexity that is not necessary for our purposes. See the Help manual under gap> ?modulo. The caret symbol “^” has several possible meanings in GAP, all relating to exponential notations. Here, it is meant literally as an exponent (i.e., t squared). It may also signify a function (see [4.3]), or a conjugation (see [4.15]). Note the use of parentheses in the second subsequent GAP command (“gap> (t^2)^1;”). They are necessary, as exponentiation is generally nonassociative. Music theorists frequently incorporate the notation “T/I” for the usual transposition and inversion group. This notation could be confusing to mathematicians, who might interpret it as a quotient (or factor) group, T mod I. As the subgroup generated by i is not normalized by T, however, such a quotient is not possible. For that reason, GAP renders an error if we attempt to label this group “T/I,” hence we use merely “TI” in GAP. For earlier accounts of the m operation, particularly in the context of serial theory, see Starr and Morris 1974 and 1977–78, and Starr 1978. For a later, fuller treatment, see Morris 1987. N.B.: When reading the accompanying program, “SampleGAPprogram.txt,” GAP may assign to alpha a different isomorphism of TTO to Aut(T/I) than the one shown in the output here: for instance, it may send TTO generators t, i, and m to hyperoperators F1,7, F11,5, and F5,8. As a result, we provide alternate definitions in the sample program for hypert and hyperi than those that appear below in [4.5] and [4.6]; namely, put gap> hyp_t := (t^7)^alpha; and gap> hyp_i := i^alpha*t^alpha. (Under this particular mapping, the hyperm operation in [4.12] does not require redefining.) The definitions that appear in the online Sage Notebook “GAP—MTO” are yet again slightly different. Our GAP representation of the T/I group may be generated by any t operator of order 12 (t, t^{ 5}, t^{ 7}, or t^{ 11}) and any it^{ n}. Why GAP chooses here to model these automorphisms on generators t^{ 5} and it^{ 4} may seem arbitrary, but in fact has a basis in its programming beyond the scope of this tutorial. Incidentally, GAP may choose generators other than t^{ 5} and it^{ 4} on different computers running precisely the same software, or when reading a program vs. a series of typed commands. In these cases, we would need to redefine the hypert, i, and m operations in [4.5], [4.6], and [4.9] accordingly. In turn, Lambert’s (2002) analysis of op. 19, no. 6, takes Lewin’s (1990) analysis of three of the piece’s sonorities as its point of departure. Lambert (2002) offers initially a different interpretation of the trichord labeled “d” in our Example 3, which he calls “(d).” Subsequently, he offers a reinterpretation, which he labels “(d').” As we incorporate the latter interpretation here, we retain its labeling. We can take for granted the existence of an inverse here, as the automorphisms of a group themselves form a group, and a group provides an inverse for each of its elements axiomatically. This extension to Knet theory appears in Appendix B of Lewin 1990. There, he uses his earlier notation for these automorphisms: hence, F5,0 for the hyperm operation m we describe here; and F7,0 for hypermi, mi. Note that Klumpenhouwer 1998 incorporates square brackets [ ] for hyperoperators that obtain from the inner automorphism group (i.e., those which obtain under conjugation), in contrast to the angle brackets Lewin 1994 uses for hyperoperators that derive from the Hyp(T/I) group. Because the kernel is a normal subgroup (gap> IsNormal(HypTI,ker_beta); true), it does not matter whether we multiply on the left or the right in forming the cosets. Lewin 1987 contains the first major work in neoRiemannian theory, although in this regard it draws on certain aspects of his earlier work (such as Lewin 1984). Cohn 1998 also offers an excellent introduction to the theory; indeed, the entire issue of Journal of Music Theory 42, no. 2 (Satyendra 1998) is devoted to neoRiemannian topics. In reading the subsequent command, recall our earlier use of the integer 12 for pitch class C. In addition, neoRiemannian theory commonly incorporates the notation “+” for major triads and “” for minor triads. In GAP, we cannot use these symbols in variable names, as GAP considers them to be arithmetic operators. Therefore, we use “M” for major (e.g., “CM” in the subsequent command is read “C major”). Similar to the situation in [4.3], fn. 12, GAP assigns a different mapping of K to [1 .. 24] when reading “SampleGAPprogram.txt.” As a result, in the program we obtain a different ordering for the neoRiemannian operations Schritt s and Wechsel w that appear below in [5.3]. Therefore, in the program, we must redefine the operations p, r, and l from [5.4] accordingly with gap> p := w*s^9;, gap> r := w;, and gap> l := w*s^5;. Another, similar situation obtains in the Sage Notebook “GAP—MTO.” S_{24} is a sizeable group, of order 24! (gap> Size(S_24); 620448401733239439360000). Nevertheless, GAP is able to process the subsequent commands that incorporate it nearly instantaneously. The centralizer in S_{24} of T/I’s action on K consists of all permutations on [1 .. 24] that commute with every member of T/I. The minus operation (minus), defined in the subsequent command, is in essence the Parallel exchange; it is an involution that sends Clough 1998 presents a group acting on consonant triads generated by a unit Schritt and an inversion, which he labels the “S/I group.” Whereas the group does contain the twelve familiar Schritts, it does not contain all twelve inversions. (Clearly, two inversions compose to form a transposition, not a Schritt.) In the same vein, he describes an isomorphic “T/W group.” Hook 2002 discusses these groups in the context of the QTT group. Our labeling of Kochavi’s (2002) contextual inversions (i_{215}, i_{216}, ..., i_{219}) follows the numbering of Figures in his dissertation (Figures 2.15, 2.16, ..., 2.19, respectively) in which they are presented (and otherwise unlabeled). In Table 4, the notation “Dic_{6}” refers to the dicyclic group of order 24 (= 4 ⋅ 6); “Q_{8}” to the quaternion group of order 8; and “C_{3} C_{8}” to the semidirect product of C_{3} by C_{8}. The output for the subsequent gap> IdGroup(TI); command shows [ 24, 6 ], which tells us that T/I is isomorphic to the sixth group listed in GAP’s classification of the fifteen groups of order 24. The Small Group Library is not installed for Sage; hence, the last seven commands presented here are not included in the Sage Notebook “GAP—MTO.” Fifteen groups of order 24 (up to isomorphism) exist, but seven of them do not possess an element of order 12, which is necessary if we want to model an operation such as transposition in these groups. M, in the context of Douthett and Peck 2007, stands for “Mother Group.” It is not to be confused with Morris’s (1982) M operation. One may alternatively consult the theorem in §3.8 of Hook 2002.
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