Dodecaphony

(redirected from dodecaphonic)
Also found in: Dictionary, Wikipedia.
Related to dodecaphonic: dodecaphony

Dodecaphony

 

(twelve-tone music), a type of musical composition that evolved during the development of atonalism. Dodecaphony was an important contribution to the modern musical avant-garde. The Austrian composer J. Hauer first attempted to create works by the principle of dodecaphony between 1910 and 1920. Another Austrian composer, A. Schonberg developed the method fully and applied it in his work (Five Piano Pieces, Opus 23, 1923).

The melodic and harmonic basis of a dodecaphonic composition is known as a note-series (row; in German, die Reihe) and consists of a chosen succession of 12 tones of different pitch. A series includes each tone of the chromatic scale; however, no one tone may be repeated in the series. Within a composition a series represents a selected set of intervals that comprises the intonational foundation. The note-series may also be used in various forms (modi); in addition to its original form, it may be used in its inversion, in a retrograde form, and in a retrograde inversion. Each of these four modi can be transposed to any of the 12 degrees of the chromatic scale; thus, the series becomes available in as many as 48 tonal versions. Using this technique a composer selects a group of tones in the various modi of a series for the melody, contrapuntal voices, and harmony. The introduction of tonal combinations not produced from the series is not permitted in dodecaphony. Some composers, who recognize tonality as the basis of music, have employed the method of dodecaphony in individual sections of their works.

REFERENCES

Til’man, I. “O dodekafonnom metode kompositsii.” Sovetskaia muzyka, 1958, no. 11.
Denisov, E. “Dodekafoniia i problemy sovremennoi kompozitorskoi tekhniki.” Muzyka i sovremennost’, issue 6. Moscow, 1969.
Hauer, J. Vom Wesen des Musikalischen. Ein Lehrbuch der Zwölftonmusik. Vienna, 1920.
Schönberg, A. Style and Idea. New York, 1950.
Kfenek, E. Zwolftonkontrapunkt-Studien. Mainz, 1952.
Jelinek, H. Anleitung zur Zwölftonkomposition, vols. 1-2. Vienna, 1952-58.
Perle, G. Serial Composition and Atonality, 2nd ed. Berkeley-Los Angeles, 1968.

IU. N. KHOLOPOV

References in periodicals archive ?
According to Duteurtre, it all began with Schonberg's dodecaphonic theories and its mortally boring results.
As is mentioned in chapter 7: "Such observations about transpositions more likely arise from a mistaken interpretation of his writings in the Foreword to the Notes to the dodecaphonic First Symphonic suite" (p.
If we leave aside the use of modality and dodecaphonic rows in my earlier pieces, which I abandoned quite quickly, this primarily refers to using computers in the creative process.
Starling is explicitly referencing two modernist projects of different disciplines: the housing projects of architect Simon Schmiderer and composer Arnold Schonberg's serial dodecaphonic system of composition.
Working freely from those twelve notes, Rota evolves a deeply moving representation in miniature of the Don Giovanni story, but not, of course, in a dodecaphonic, serialist, or atonal fashion.
Having already composed dodecaphonic works, Eisler claimed; "Auch verstehe ich nichts (bis auf AuBerlichkeiten) von der 12 Ton Technik u.
While Arnold Schoenberg is truly the father of dodecaphonic music and serialism, other musicians before him had explored the use of the twelve tones of chromatic music.
He lived through and helped to create the boom in Russian ballet before the 1 st World War, and it was he who was the first to sound the bugle and mark out the direction for Neo-Classicism; then it was he who found the different method in dodecaphonic technique that the Post-Modern movement discovered.
The protocol of the break is grouped around certain works by Schonberg, Alban Berg, and Anton von Webern, the uncertain progressive protocol of nomination, dodecaphonic, then later serial music, and the labor of fidelity to that event.
When he started to compose again, he cultivated a non-folkloric idiom with a tendency toward dodecaphonic serialism.
Even such a giant as Shostakovich somewhere wrote that Wozzek was a dodecaphonic work.
These associations eventually led to yet another compositional crisis and the embrace of the dodecaphonic method on which his opera Karl V, composed between 1931 and 1933, is based.