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 ?
"Schoenberg's music and thinking have been the focus of scholarly discussion for several decades," Peles said, "and 'Schoenberg's Twelve-Tone Music' does a masterful job of pulling many of these discursive threads together while tremendously enriching our understanding of this music."
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.
The most densely argued chapter of this study, however, reconstructs a far more direct intervention in the genesis of Mann's text, the now famous discussions with Adorno about Schoenberg and twelve-tone music theory.
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." (Reilly, 246) 2.
(24.) 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.
Her essay analyzes criticisms by Carl Dahlhaus and Richard Taruskin concerning whether twelve-tone music could be politically engaged: while Dahlhaus believed that art could not by definition be politically engaged because that would inappropriately instrumentalize something that was meant to be autonomous, Taruskin criticized politically-engaged dodecaphony for being ineffective at communicating with audiences.
As part of the THEME Colloquium, Jack Boss, associate professor of music theory and composition at the UO, will introduce his newly published book, "Schoenberg's Twelve-Tone Music: Symmetry and the Musical Idea."