dodecaphony


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Related to dodecaphony: Gebrauchsmusik

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.

dodecaphony, dodecaphonism

the composition of music employing the twelvetone scale. Also called dodecatonality, atonality. — dodecaphonist, n. — dodecaphonic, adj.
See also: Music
References in periodicals archive ?
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.
4), to atonal elements specific to the 20th century music; he finally used atonalism and dodecaphony in terms of the folk researcher, for whom folk music had been the source of some aesthetic solutions whose originality and lack of rigor had a liberating role for his compositional techniques.
One rare example may be found in Klaus's speech to the Bertelsmann Foundation in Berlin (Klaus 2008a), in which he metaphorically contrasts Beethoven's Ode to Joy and Schonberg's dodecaphony.
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.
Twelve-tone composition (alias dodecaphony or, combined with set theory, serialism) was the rigorously 'logical' elaboration of atonality that Schoenberg unveiled in 1923 as the 'method of composing with twelve tones which are related only with one another'.
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.
Schoenberg's dodecaphony and the rejection of tonal hierarchies were the musical outgrowth of this deeper pathology.
A similar situation occurred in the beginning of the twentieth century when, searching for new musical spaces, several composers almost simultaneously discovered atonalism and dodecaphony.
Puffett's precise terms are 'series technique' and 'quasi-serial technique', and the distinction between that and Schoenbergian dodecaphony needs clarifying, for it helps to define Schoeck's individuality.
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.
Similarly, in the Quaderno musicale di Annalibera - which others have too often discussed purely in terms of its structural aspects and its highly sensitive use of dodecaphony and of neo-Bachian canonic techniques - Quattrocchi skilfully jolts us into viewing the work from a new angle not only by pointing out the substantial debt of the tenth piece ('Ombre') to Musorgsky's ever-disconcerting 'Catacombs' but also by suggesting that the intricately interwoven canonic processes of, for example, the third piece ('Contrapunctus primus') are not necessarily the most important aspects of its sound-world for listeners, however intriguing they may be for performers and score-followers.