“…Among some of the works that associate partitions and music in a more explicit way, we highlight the early studies of twelve-tone partitioning, in particular the source set approaches of Babbitt [13,14,15], Perle [129,130,131] and Martino [108], in addition to other studies in combinatoriality by Forte [56], Howe [85] and Gamer [65]. In the same direction, we also mention the works of Wintle [175], Bazelow and Brickle [20], Morris and Starr [117,124,161,162,163], Haimo and Johnson [77], and the further partitional or mosaic approaches of Mead [110,111], Kurth [97,98,99,100], Morris and Alegant [2,3,4,5,6,122,123]. Morris still uses partitions to shape some of his compositional designs, especially the Design VI [118, pp.…”