twelve-tone music

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Related to twelve-tone music: dodecaphony, serial music, Serial technique
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  • noun

Synonyms for twelve-tone music

a type of serial music introduced by Arnold Schoenberg

References in periodicals archive ?
We can follow his progressive development from the song cycle While Falling Asleep of 1962, influenced by twelve-tone music and serialism, through Affects for seven instruments of 1963, where he already exploits aleatorics and graphic notation, The Pendulum of Time of the years 1966-1967, where he also adds electronics, Tao for 9 instruments, written on twelve separate sheets with the order up to the performers, to the Book of Principles of 1973, which consists of verbal scores for undefined chamber orchestra.
The biographical part of the book ends by depicting the two changes of direction in Skalkottas' compositional techniques: his return to tonality from 1947 until mid-1949, and his return to strict twelve-tone music during the last months of his life (p.
I think one has to admit that in the works where I use the symmetrical hexachord, one probably can't any longer speak of my music as being twelve-tone music, that is, certainly not in the academic sense.
Schoenberg developed atonal and later twelve-tone music, revolutionizing modern music, while Weill made a successful transition from Weimar avant-garde to Broadway in exile, itself a notable accomplishment.
Ben Weber, gay as they come, composed twelve-tone music only, and twelve-tone music is dour as they come.
The fact that the text is by far the most analytically-based of those in the book should not scare those who are not music theorists; a basic knowledge of twelve-tone music (i.
1925) Haba was also reacting to Schonberg's twelve-tone music.
Besides, twelve-tone music is, for me, not music at all.
The Twelve-Tone Music of Luigi Dallapiccola By Brian Alegant.
It might seem odd to begin a review of a book on twelve-tone music in America with the polemic of a Soviet composer, but the example highlights both the benefits and perils of Joseph Straus' book.
The forms of twelve-tone music were for Adorno thus empty illusions that could only mirror the empty values of bourgeois society.
The presence of this narrative thread is appropriate because so much of Rochberg's biography has rested on his eschewal of twelve-tone music after the death of his son Paul in November 1964.
Of particular importance is how Carpenter and Neff write about twelve-tone music.
Included is an accurate listing of the composer's published compositions and writings on music, a good selective list of secondary literature on Dallapiccola, and a substantial listing of current secondary literature on twelve-tone music in general.
A pupil of Arnold Schoenberg, Gerhard was one of a number of figures who labored greatly to extend the organizational idea of twelve-tone music from just pitches to rhythms.