Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning the… - George Perle

His partitioning of the octave in the first ten bars places Varèse with Scriabin and the Schoenberg circle among the revolutionary composers whose work initiates the beginning of a new mainstream tradition in the music of our century.

If...[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partitionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.

Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation...accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'