twelve-tone music


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Related to twelve-tone music: dodecaphony, serial music, Serial technique

twelve-tone music:

see serial musicserial music,
the body of compositions whose fundamental syntactical reference is a particular ordering (called series or row) of the twelve pitch classes—C, C#, D, D#, E, F, F#, G, G#, A, A#, B—that constitute the equal-tempered scale.
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References in periodicals archive ?
Twelve-tone music is now dead, everyone grudgingly admits, yet its pitch-set-manipulating habits survive in far-flung corners of our musical technique like residual viruses.
We can follow his progressive development from the song cycle While Falling Asleep of 1962, influenced by twelve-tone music and serialism, through Affects for seven instruments of 1963, where he already exploits aleatorics and graphic notation, The Pendulum of Time of the years 1966-1967, where he also adds electronics, Tao for 9 instruments, written on twelve separate sheets with the order up to the performers, to the Book of Principles of 1973, which consists of verbal scores for undefined chamber orchestra.
Likewise in twelve-tone music, it takes a highly specialized ear to hear the rows themselves.
Whereas tonal music is hierarchical, twelve-tone music is egalitarian: all the tones in the twelve-tone row must be given equal emphasis, "thus depriving one single tone of the privilege of supremacy.
A sampling of articles exploring multiple order functions and self-deriving arrays includes David Lewin, "On Certain Techniques of Re-ordering in Twelve-Tone Music," Journal of Music Theory 10 (1966): 276-87; Donald Martino, "The Source Set and its Aggregate Formations," Journal of Music Theory 5, no.
The great pianist Edward Steuermann once was approached after a concert by a man who told him that he had written an essay to demonstrate why one cannot play twelve-tone music from memory.
The two-hour work is set to the twelve-tone music of Alban Berg and Arnold Schoenberg, and Richard Wagner's dense chromaticism, performed live by.
Although the Grupo de los Ocho was treated separately by Sopena (1958) under the sobriquet of the Generation of '31, Marco justifies his idea of a shared musical/poetic generation along stylistic lines: 'This generation in Spain combined neoclassicism, atonal experiments, twelve-tone music, and casticismo into an amalgam that reflected wonderfully well the folkloric, neoclassical, avant-garde, and surreal combinations in the work of the poets of '27'.
As a result, Claude's eventual recovery comes across as empty, mechanical, a consequence of structure rather than life--like the twelve-tone music ("an intellectual system, an analytical system") for which both he and Conroy seem to share such disdain.
Most of his output seems to fall under the rubric of twelve-tone music, but references to performance art, popular music, minimalism, prepared piano, jazz, swing, and boogie-woogie also appear in Hennenberg's descriptions (pp.
The biographical part of the book ends by depicting the two changes of direction in Skalkottas' compositional techniques: his return to tonality from 1947 until mid-1949, and his return to strict twelve-tone music during the last months of his life (p.
I think one has to admit that in the works where I use the symmetrical hexachord, one probably can't any longer speak of my music as being twelve-tone music, that is, certainly not in the academic sense.