dodecaphonic


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Related to dodecaphonic: dodecaphony

do·dec·a·phon·ic

 (dō′dĕk-ə-fŏn′ĭk)
adj.
Relating to, composed in, or consisting of twelve-tone music.

[Greek dōdeka, twelve; see dodecagon + phon(o)-, tone, pitch + -ic.]

do·dec′a·phon·ist (dō-dĕk′ə-fə-nĭst, dō′də-kăf′ə-) n.
do·dec′a·phon′y (dō-dĕk′ə-fō′nē, dō′də-kăf′ə-), do·dec′a·phon·ism n.

dodecaphonic

(ˌdəʊdɛkəˈfɒnɪk)
adj
(Classical Music) of or relating to the twelve-tone system of serial music
ˌdodecaˈphonism n
ˌdodecaˈphony n
Translations

dodecaphonic

[ˌdəʊdekəˈfɒnɪk] ADJdodecafónico
References in periodicals archive ?
the necessity for the dodecaphonic language is USELESS.
SchE[micro]nberg, who developed dodecaphonic music, found the world of film soundtracks fascinating, highly appealing.
Dodecaphonic but full of romantic gestures and tonal inflections, the piece is highly expressive and relatively accessible.
Zeno's "stuttering" violin playing echoes the new rhythms of twentieth-century atonal and dodecaphonic music.
An avant-garde composer, he employs pantonal, dodecaphonic, electroacoustic, and aleatoric techniques in his compositions.
Torn between allegiance to his former teacher Messiaen and new mentor Rene Leibowitz, he composed works across the musical and political spectrum, including one of the first dodecaphonic works by a French composer, the Variations for Piano and Ten Instruments (1946).
15) So too Said fully grasped the implications of Adorno's "rule of thumb that in the contemporary world cultural forms that appear most distant from society--for example the lyric and dodecaphonic music--are the best places to see the imprint as well as the distortions of society upon the subject" (Said 2000, 166).
This essay, which discusses Wittgenstein's attitude towards modern music, argues that, despite several attempts to compare Schoenberg's dodecaphonic compositional procedures with Wittgenstein's attempt to attain purity in language, there is a radical difference in their understanding of music.
following dodecaphonic procedures, yet noting that there was still considerable freedom in the shaping of tones that might reflect individual feelings by varying dynamics, textures, timbres, durations, silences, registers, and so forth.
The piece initially has a dodecaphonic feel, although the pattern here is usually to hear 10 notes of the chromatic scale before a note is repeated.
Nevertheless, given the responses to Arnold Schoenberg's freely atonal and dodecaphonic compositions, the possible responses to Webern's rigorously conceived work, transcending the borders of dodecaphony in the direction of a totally organised musical structure, could have been anticipated.
In a time when most music was written in dodecaphonic style with lots of harsh harmonies, the approaches of these composers were like a blow of fresh air.