dodecaphony
twelve-tone serialism
twelve-tone technique

Despite this statement, Copland had approached dodecaphony with some initial skepticism.

Is dodecaphony finally over and done with?

Twelve-tone music, or dodecaphony, was surely on the wane a quarter-century ago, long before the world had heard of Gorbachev.

O dodecaphony, where is thy sting?

By doing so, Copland took advantage of the potential for richly-dense harmonies, built on seconds and their inversions, that dodecaphony made available.

His compositions often combined elements of prior liturgical music styles (such as Gregorian chant) with modern techniques like dodecaphony.

Serialism (which in relation to dodecaphony is like the solar system to Mercury) sought to formalize the principle of meaning derived from context.

In classical music, composition branched out into many completely new domains, including dodecaphony, aleatoric (chance) music, and minimalism.

Beginning with his cycle of songs entitled While Falling Asleep, he turned to dodecaphony and techniques proceeding from this particular principle.

The twelve-tone technique (also dodecaphony) is a method of musical composition devised by Arnold Schoenberg.

He was the first Polish composer living before the Second World War to apply the twelve-tone composition technique (dodecaphony).

(Schoenberg had enforced similarly strict lessons in traditional harmony upon his own pupils, even as he encouraged them to explore dodecaphony.)

The term is also often used for dodecaphony, or twelve-tone technique, which is alternatively regarded as the model for integral serialism.

The work is in the late-Romantic tradition, in particular the New German School, unaffected by the emerging dodecaphony.

In the 1950s, Stravinsky began using serial compositional techniques such as dodecaphony, the twelve-tone technique originally devised by Arnold Schoenberg.

He rejected serialism and dodecaphony, considering both to be based on artificial precepts, and he criticised even the later tonal works and transcriptions of Schoenberg.

Before his emigration and during his studies in Vienna, he was interested in the dodecaphony of the "Second Viennese School" and serialism.

His five Synthèses offer a form of dodecaphony, while Formes en l'air was dedicated to Picasso and is a Cubo-Futurist concept.

At that time, Stockholm was "a modernist fortress: dodecaphony, serialism, aleatoric music, musique concrète - there was every technique and trend and fashion.

As most people except diehard academicians will agree, dodecaphony was a dismal failure, limiting instead of liberating, producing few works of lasting value; meanwhile, tonal music is still flourishing.

In Vienna, as a disciple of Arnold Schoenberg, he became the first adept of dodecaphony in Italy, although he did not continue to use this composition system.

Zoran Hristic met with the European avant-garde in the late fifties, when his composition professor in Milan, Castiglioni acquainted him with contemporary Italian music and Schoenberg dodecaphony.

Movement 3 relates to movements 1 and 5 through their common use of recurring organ versets, and relates to movements 2 and 4 by their common use of dodecaphony.

Especially by the late 60's, however, such dictatorship of the dodecaphony held sway on only a few campuses, almost all of them on the East Coast: Princeton, Columbia, Yale, Brandeis, etc.

Nearly a century after the birth of dodecaphony, we're still struggling with 12-tone music's bad reputation with audiences, yet the supposed thorniness of the music is belied, time and again, by powerfully communicative pieces.

A second direction in the search for a new tonality was twelve-tone serialism.

Alwyn relished dissonance, and devised his own alternative to twelve-tone serialism.

For Adorno, twelve-tone serialism constitutes a decisive, historically developed method of composition.

He continued to compose abroad, and from the mid-1950s Palester experimented with twelve-tone serialism.

The three components of Farkas's very personal musical language are Italian neoclassicism, Hungarian folk music and twelve-tone serialism.

Occasionally Penderecki employs twelve-tone serialism, and utilizes the B-A-C-H motive.

Gołąb, Maciej, "Twelve-Tone Serialism.

"Józef Koffler's Twelve-Tone Serialism" (Dodekafonia Józefa Kofflera).

"Twelve-Tone serialism of Józef Koffler" (Zwolftontechnik bei Józef Koffler.

Schoenberg was the composer most decisively involved in devising and demonstrating the fundamentals of twelve-tone serialism, though it is clear it is not the work of just one musician (Whittall 2008, 1).

Szabelski encouraged his pupil's growing confidence and independence by giving him considerable space in which to develop his own ideas and projects, so that several of early pieces Górecki wrote were straightforward in the type of neo-classicism, during a period when Górecki was also absorbing the techniques of twelve-tone serialism.

Some of these composers (Cage, Cowell, Glass, Reich) represented a new methodology of experimental music, which began to question fundamental notions of music such as notation, performance, duration, and repetition, while others (Babbitt, Rochberg, Sessions) fashioned their own extensions of the twelve-tone serialism of Schoenberg.

He was the first important Dutch composer to use twelve-tone technique.

The latter two influenced him to write many works in the twelve-tone technique.

Twelve-tone technique was not the only new experiment in tonality.

Schoenberg used these methods in what has become known as Twelve-tone technique.

Vustin uses the twelve-tone technique, but in his own original way.

Furthermore, he made a name for himself as a music theorist with an emphasis on twelve-tone technique.

In music using the twelve-tone technique, derivation is the construction of a row through segments.

He is noted for being one of the first American composers to use a form of twelve-tone technique.

He continued to study and meditate upon the implications of Schoenberg's twelve-tone technique.

In practice, the "rules" of twelve-tone technique have been bent and broken many times, not least by Schoenberg himself.

Although his works display a broad range of stylistic influences, he is particularly associated with the twelve-tone technique.

He first turned to twelve-tone technique with his Violin Concerto in 1937.

In the early 1960s he adopted a loose form of twelve-tone technique, combined with minimalist designs.

(His later music is, however, not in the twelve-tone technique.)

He then began to compose using Schoenberg's twelve-tone technique and serialism.

The textures are canonic and recall Stravinsky's late twelve-tone technique.

The opera makes use of the twelve-tone technique and quarter tones, the latter primarily in the harp parts.

The work is atonal but does not use the twelve-tone technique that Schoenberg would devise eight years later.

It is one of the earliest of Schoenberg's compositions to use twelve-tone technique.

Arnold Schoenberg's twelve-tone technique later revived interest in canon.

This theme is then treated to five variations, using the common manipulations of twelve-tone technique:

In contrast to his friend Schoenberg, he never wrote atonal music, and never used the twelve-tone technique.

His early style was characterized by the use of free counterpoint, already moving towards atonality, and beginning in 1954 he began using twelve-tone technique.

Subsequently, Irino used the twelve-tone technique in numerous compositions and wrote extensively about contemporary music.

This initial exposure to the twelve-tone technique led Logan to aspire pursuing a career as a composer.