For many years, every Saturday a few other people and I would go to see Kabelac to study dodecaphony
, serial technique, punctualism, aleatoricism, which was really tough post-graduate training indeed.
After 1948, persuaded especially by Herm a 1 I 11 Scherchen and Luigi Dallapiccola, though guided above all by his infinite curiosity for new compositional techniques, Macierna first approached dodecaphony
and then, coinciding with his involvement in the Darmstadt summer courses, serialism.
Here, it is made clear that Skalkottas approached dodecaphony
from several different angles, compared to other composers who followed the trend, and had developed his own twelve-note musical language.
This sense of secure centeredness was weakened in the late 19th century by the increasing use of chromaticism (pitches outside the major or minor key in force), and decisively challenged in the early years of the 20th century by a number of factors: the use of new scales derived from ethnic music; impressionism, which treats chords and dissonances very differently than in the system based on major and minor; bitonality (simultaneous use of two keys); unpredictable beat patterns; and especially atonality and dodecaphony
, both of which avoid any sense of key center.
For him dodecaphony
is nothing more than a rigorous means for controlling chromaticism; beyond its role as regulator, the serial phenomenon passed largely unnoticed by Schoenberg.
and the rejection of tonal hierarchies were the musical outgrowth of this deeper pathology.
In the 1960s, Novak further extended his range of genres and compositional means; for a short time he employed elements of dodecaphony
and aleatoricism in his compositions, first applying the twelve-tone technique as a thematic material in the middle section of his Capriccio for cello and small orchestra (1958), with the chamber piece Passer Catulli (1962) being considered one of the apices of this phase.
I have also researched into the possibilities of serialism and dodecaphony
, which in connection with minimalism and microtonality are nowhere near exhausted.
A recent issue includes articles on Bach (interpretation and theory), dodecaphony
, Bolshevik music and propaganda, as well as book and recording reviews.
Yet Schoenberg's music dating from his subsequent atonal period and the phase following the devising of the dodecaphony
technique was largely apprehended as "nihilistic" and merely "mathematical", or "spectacularly ponderous".
really 'exhaust talent' and turn creativity into a 'series of brain-wracking computations'?
The almost negligible interest in Schonberg's dodecaphony
and the freely atonal and later music of Anton Webern was paralleled by the almost complete lack of response to the work of the futurists, who were little known in the CSR and/or seemed too radical and so incompatible with the desire of most Czechoslovak inter-war composers to synthesise avant-garde influences and so exclude or tone down extremes.