twelve-tone system


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Related to twelve-tone system: dodecaphony, Serial technique
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Noun1.twelve-tone system - a type of serial music introduced by Arnold Schoenbergtwelve-tone system - a type of serial music introduced by Arnold Schoenberg; uses a tone row formed by the twelve semitones of the chromatic scale (and inverted or backward versions of the row)
serial music, serialism - 20th century music that uses a definite order of notes as a thematic basis for a musical composition
References in periodicals archive ?
He isolated notes from Arnold Schonberg's Verklarte Nacht (Transfigured Night, 1899), reshuffled them according to the Austrian composer's twelve-tone system (which this late-Romantic-era piece predates), and played the notes individually through separate speakers in the gallery space, arranged so that it sounds as if each tone is darting laterally overhead across the room.
Eisler was the first student of Arnold Schoenberg to master his teacher's revolutionary twelve-tone system, but almost immediately Eisler found his musical imagination taking wing in other directions, including jazz and cabaret music.
Also, information gleaned from Joseph Dubiel's article, "What's the Use of the Twelve-Tone System?" sheds even more doubt upon this preliminary analysis.
The twelve-tone system of music may not be every music-lover's idea of pleasant sound, but it was a revolutionary form of musical expression that has not been rejected by musicians.
1 in a twelve-tone system (but not "twelve-tone" in the sense of Arnold Schonberg's dodecaphony) from 1931, and Nonet no.
Webern is the most refined, the most complex, the most rewarding of twentieth-century composers, whose short pieces encapsulate the whole history of music in under three minutes, despite being written entirely within Schoenberg's twelve-tone system ...
Both the twelve-tone system and general atonality introduced an ever-increasing number of dissonances, and as this occurred the triad lost its position as the cornerstone of harmony.
This edition, which is a reprint from 1964, has discussion of developments of newer musical techniques such as neoclassicism and the twelve-tone system, and an expanded bibliography and chronology.
His adoption of Schonberg's twelve-tone system ensures that all the notes are equal in value, and removes the need for a final resolution, guaranteeing the open-endedness of the system.
Rorem is not shy about stating his opinions: he tries the twelve-tone system "for about a week," and he questions the praise heaped on 1970's icons Sweeney Todd, Woody Allen movies, and Beverley Sills, describing all three as "okay, but not that okay." He gives John Simon and Norman Podhoretz firm rebukes for their homophobic comments while reminding them, somewhat sadly, that they're still friends.
Bradley is famous for having used the twelve-tone system on occasion in his scores.
(The twelve-tone system is one example out of many.) But we can ask if this duality of logic and rhetoric is a necessary feature of musical experience.