Its materials range from apocalyptic twelve-note chords to Broadway-ready melodies, including a tune cut from "On the Town"; the ingenious knitting together of motifs makes the transitions seamless.
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Marija Kovač (1984) Symphonic Music of Vasilije Mokranjac, Belgrade, Association of Serbian Composers, p. 17. All three symphonies are neo-expressionistic, and the Third contains a twelve-note row. However, Mokranjac does not follow the rules of dodecaphonic and serial music, but he uses the twelve-note row as a passing sound illustration. Although all three symphonies follow the traditional four-movement symphonic design, Mokranjac's employment of a single motivic core, as well as his gradual erasing of borders between the movements, lead towards the single-movement symphonies and “poems” typical of his final creative period.
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120 quotes Lutosławski, "The different parts can play very complicated rhythms [...] and yet play only the notes of that [twelve-note] chord [...] It may occur that the chord never actually sounds in its entirety—it is supplemented by our memory and imagination." Lutosławski's twelve-note techniques were thus completely different in conception from Arnold Schoenberg's tone-row system,Bodman Rae (1999), p. 63. See also: C. Bodman Rae: Pitch Organisation in the Music of Witold Lutoslawski Since 1979 (PhD thesis, University of Leeds, 1992) although Musique funèbre' does happen to be based on a tone row.Stucky (1981), p.
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The symphony, lasting 25 minutes, is in four movements. The first, Allegro giusto, is a sonata allegro. The second is marked Poco adagio, while the third (Allegretto misterioso) is a scherzo whose opening theme is based on a twelve-note tone-row. The final movement is marked Allegro vivace.
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Berg's Wozzeck: Harmonic Language and Dramatic Design, p.48. . Alexander Scriabin's mystic chord is a primary example, being a whole tone scale with one note raised a semitone; this alteration allows for a greater variety of resources through transposition."The Evolution of Twelve-Note Music", p.56. Oliver Neighbor.
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It is often motor- like and frequently asymmetric.Music Finland Despite drawing mainly on twelve- note techniques, most of Jalava's classical works create a feeling of tonality. In his later compositions he often lets their nature determine the music or employs other methods of his own devising, assigning row technique only a secondary role.
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Chromatic most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in mensural music of the 14th through 16th centuries.
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Abelardo Quinteros (born 10 December 1923, Valparaiso) is a Chilean composer who is particularly known for his contributions to twelve-note composition and serialism. His most well known works include his award-winning Horizon carré, Cantos al espejo, 3 arabescos concertantes, and Piano Studies. His music is known for its lyricism and expressiveness. From 1936-1941 Quinteros studied industrial design at Federico Santa María Technical University.
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Citation on p. 590. Stravinsky uses the bass theme similarly to Schoenberg's twelve-note series. The upper parts consist of various sorts of canons using the same sequence sixteen notes, with imitation at various intervals, by inversion, retrograde, and inversion of the retrograde. The third movement consists of a succession of four fugues, all based on the same sixteen-tone series used in the Passacaglia.
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During this compositional hiatus, he would develop the twelve-tone technique; thereafter, he would compose mainly (though not exclusively) using the twelve-note method. The orchestral songs was premiered on February 21, 1932, in Frankfurt am Main, conducted by Hans Rosbaud with soprano Hertha Reinecke. The second movement was dedicated to student and fellow composer Anton Webern. It was eventually published by Universal Edition in Vienna, on November 7, 1917.
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To provide, "a simple explanation...: the complement of a pitch-class set consists, in the literal sense, of all the notes remaining in the twelve-note chromatic that are not in that set."Pasler, Jann (1986). Confronting Stravinsky: Man, Musician, and Modernist, p.97. . In the twelve-tone technique this is often the separation of the total chromatic of twelve pitch classes into two hexachords of six pitch classes each.
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His appreciation of jazz is apparent in the sense of spontaneity and rhythmic fluidity that he strove to bring to his own pieces. He had a gift for improvisation and often composed directly at the keyboard. Technically speaking, Hanson rejected serialism with its rigid rules of development, but retained a fascination with the twelve-note scale and its full potentialities. This should not be taken to indicate, however, that he disdained melody.
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148 The final three sonatas are for woodwind and piano: for flute (1956–57), clarinet (1962), and oboe (1962). They have, according to Grove, become fixtures in their repertoires because of "their technical expertise and of their profound beauty". The Elégie for horn and piano (1957) was composed in memory of the horn player Dennis Brain. It contains one of Poulenc's rare excursions into dodecaphony, with the brief employment of a twelve-note tone row.
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Second motive: 8 semiquavers grouped 2x4 The second pianist then fades out, leaving the first playing the original twelve-note melody. The first pianist adjusts the bottom part to a four-note motif, which changes the pattern to an 8-note repeating pattern. The second pianist re-enters, but with a distinct 8-note pattern. The phasing process begins again; after the full eight cycles, the first pianist fades out, leaving one eight-note melody playing.
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In Paris, according to Maguire, Leibowitz earned his living as a jazz pianist and composed constantly. In his early twenties he married an artist from an illustrious French family and settled down in Paris, eventually taking French nationality. During the early 1930s he was introduced to Schoenberg's twelve- note technique by the German pianist and composer Erich Itor Kahn. Maguire writes that Leibowitz easily fitted into "the ebullient intellectual and artistic climate of Paris in the pre-war years".
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The twelve-note cycle in the first five bars of the piano part of the Canticle introduced a feature that became thereafter a regular part of Britten's compositional technique. The fourth Canticle, premiered in 1971 is based on T. S. Eliot's poem "Journey of the Magi". It is musically close to The Burning Fiery Furnace of 1966; Matthews refers to it as a "companion piece" to the earlier work. The final Canticle was another Eliot setting, his juvenile poem "Death of Saint Narcissus".
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The oratorio's striking drama, power, and coherence derive from Seter's mastery of polyphonic technique, his sure and original orchestration, and his consistent use—with expert balance between repetition and variation—of an intricately linked network of musical materials. These include (1) a "lament" motive, consisting of a descending minor second; (2) a "hope" motive, consisting of an ascending major second; (3) a twelve-note scale consisting exclusively of half-steps and augmented seconds; and (4) the Yemenite paraliturgical melodies Ahavat hadasa and Elohim esh 'ala.
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33a by Arnold Schoenberg. In April 1933 he was dismissed from his post by the Nazis and emigrated to Paris with his wife Frida (née Rabinowitch). There he became friendly with René Leibowitz, to whom he introduced Schoenberg's Twelve-note technique. At the beginning of World War II he was interned as an enemy alien at the Camp des Milles in the southeastern France;Jean-Marc Chouraqui, Gilles Dorival, Colette Zytnicki, Enjeux d'Histoire, Jeux de Mémoire: les Usages du Passé Juif, Maisonneuve & Larose, 2006, p.
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Although Bush accepted Zhdanov's 1948 diktat without demur and acted accordingly, his postwar simplifications had begun earlier and would continue as part of a gradual process. Bush first outlined the basis of his new method of composition in an article, "The Crisis of Modern Music", which appeared in WMA's Keynote magazine in spring 1946. The method, in which every note has thematic significance, has drawn comparison by critics with Schoenberg's twelve-note system, although Bush rejected this equation. Many of Bush's best-known works were written in the immediate postwar years.
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In a 1996 lecture, extracted and translated in the programme to the ENO 1996 production, Henze mentions the Leipzig tradition from Bach to Max Reger, Hermann Grabner and Wolfgang Fortner, the Viennese classical tradition and the Second Viennese School, in particular Beethoven and Arnold Schoenberg, Gustav Mahler and Stravinsky as influences. He describes how he contrasts "the beautiful old harmonies of yesterday" used to represent the Prince's dreamworld with "serially organized military music, with a predominance of fanfare-like fourths and fifths in the twelve-note row" used for the waking world.
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Reich's phasing works generally have two identical lines of music, which begin by playing synchronously, but slowly become out of phase with one another when one of them slightly speeds up. In Piano Phase, Reich subdivides the work (in 32 measures) into three sections, with each section taking the same basic pattern, played rapidly by both pianists. The music is made up, therefore, of the results of applying the phasing process to the initial twelve-note melody—as such, it is a piece of process music. The composition typically lasts around 15 minutes.
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First motive: 12 semiquavers grouped 4x3 The section begins by both pianists playing a rapid twelve-note melodic figure over and over again in unison (E4 F4 B4 C5 D5 F4 E4 C5 B4 F4 D5 C5). The pattern consists only of 5 distinct pitch classes. After a while, one pianist begins to play slightly faster than the other. When this pianist is playing the second note of the figure at the same time the other pianist is playing the first note, the two pianists play at the same tempo again.
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Splicing different pitches resulted from different playback speeds of initial drop creates a twelve-note arpeggio. Only twenty-five splices were used to compose the piece, which made him very proud, and the multi-track recorder controlled all other variations. The fifth operation was the use of tape delay, not to be confused with the same term used on the television world that means to postpone broadcasts. To Le Caine, it was an echo effect he produced by playing a sound on the recorder while re-recording the sound at the same time.
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The relative pitches of individual notes in a scale may be determined by one of a number of tuning systems. In the west, the twelve-note chromatic scale is the most common method of organization, with equal temperament now the most widely used method of tuning that scale. In it, the pitch ratio between any two successive notes of the scale is exactly the twelfth root of two (or about 1.05946). In well-tempered systems (as used in the time of Johann Sebastian Bach, for example), different methods of musical tuning were used.
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Among alternative tunings for guitar, a major-thirds tuning is a regular tuning in which each interval between successive open strings is a major third ("M3" in musical abbreviation). Other names for major-thirds tuning include major-third tuning, M3 tuning, all-thirds tuning, and augmented tuning. By definition, a major-third interval separates two notes that differ by exactly four semitones (one-third of the twelve-note octave). The Spanish guitar's tuning mixes four perfect fourths (five semitones) and one major-third, the latter occurring between the G and B strings: :E-A-D-G-B-E.
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A twelve-note range is normal. The kse dieve is often a solo instrument, but it may be played as well in the aareak orchestra, the traditional wedding orchestra (plenh kar boran) and the plenh areak ("magic healing orchestra"). When the United Nations helped Cambodia to assess its cultural heritage, the kse diev was considered to be the country's oldest musical instrument. Whether or not it was the oldest, the instrument was played in the Angkor court of the Khmer Empire, and the instrument appeared in a bas-relief carving from the 12 or 13th century at the Bayon temple.
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Each piece begins and ends with bells, shaken by Coltrane. The pieces encompass a range of expression, from hard, fragmentary phrases to flowing, downward twelve-note scales, played so fast and articulated so clearly they give you the physical sensation of the floor dropping out from under you. This takes him back to 1958, when he started to become interested in the harp, expressing himself with fast arpeggios; it is sheets-of-sound done even better." Eric Nisenson wrote that the title Interstellar Space "is perfectly fitting, for here Coltrane is free to improvise without the gravity of the bass or piano.
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Other terms used to make the distinction are twelve-note serialism for the former and integral serialism for the latter. A row may be assembled pre-compositionally (perhaps to embody particular intervallic or symmetrical properties), or derived from a spontaneously invented thematic or motivic idea. The row's structure does not in itself define the structure of a composition, which requires development of a comprehensive strategy. The choice of strategy often depends on the relationships contained in a row class, and rows may be constructed with an eye to producing the relationships needed to form desired strategies .
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Peter Schat's 'Zodiac of the Hours', which graphically represents the tone-clock steerings of the twelve hours. Note that X can only be steered as a diminished seventh tetrachord (hence, the only non-triangular shape). Each point of a shape represents a pitch-class on the chromatic circle, and each shape represents one transposition or inversion of an hour. The term 'tone clock' (toonklok in Dutch) was originally coined by Dutch composer Peter Schat, in reference to a technique he had developed of creating twelve-note pitch 'fields' by transposing and inverting a trichord so that all twelve pitch- classes would be created once and once only.
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Lars-Erik Vilner Larsson was born in Åkarp in 1908, the son of a factory worker and a nurse. He studied with Ellberg at the Stockholm Conservatory (1925–1929) and with Alban Berg and Fritz Reuter in Vienna and Leipzig (1929–1930), then worked for Swedish Radio and taught at the Stockholm Conservatory (1947–1959) and Uppsala University where he held the position as Director musices (1961–1966). Composer Svea Nordblad Welander and her husband Waldemar Welander were among his students. His style as a composer is eclectic, ranging from the late Romantic to techniques derived from Arnold Schoenberg's twelve-note system, but original in method.
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For example, the chord is a whole tone scale with one note raised a semitone (the "almost whole-tone" hexachord, sometimes identified as "whole tone-plus"), and this alteration allows for a greater variety of resources through transposition."The Evolution of Twelve-Note Music", p.56. Oliver Neighbour. Proceedings of the Royal Musical Association, 81st Sess. (1954–1955), pp. 49–61. Leonid Sabaneev interpreted the Prometheus chord as harmonics 8 through 14, without 12 (1, 9, 5, 11, 13, 7 = C, D, E, F, A, B), but the 11th harmonic is 48.68 cents away from the tritone (F), the 13th harmonic is 59.47 cents away from a major sixth (A).
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In rows with the property of combinatoriality, two twelve- note tone rows (or two permutations of one tone row) are used simultaneously, thereby creating, "two aggregates, between the first hexachords of each, and the second hexachords of each, respectively." In other words, the first and second hexachord of each series will always combine to include all twelve notes of the chromatic scale, known as an aggregate, as will the first two hexachords of the appropriately selected permutations and the second two hexachords. Hexachordal complementation is the use of the potential for pairs of hexachords to each contain six different pitch classes and thereby complete an aggregate.Whittall 2008, p.273.
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His concept was to play what he termed amateurish, emotional, naïve, magical and simple music on highly unemotional, inorganic instruments—for example, a calculator with built-in twelve-note keyboard that lends a haunting portamento melody to one of the film's motifs. Other instruments used in the score include Andrews's modified piano (rather than hitting the strings directly, the hammers first make contact with a piece of soft felt, creating a warmer, slightly muffled tone), as well as his Moog and Vocoder synthesizers. Despite all the electronic gear, no MIDI was used in the recording, so that all the humanness, all the subtle variations of rhythm, are intact. Inara George adds vocals in several climactic moments throughout the film.
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It was written to commemorate the 10th anniversary of the death of Béla Bartók, but took the composer four years to complete. This work brought international recognition, the annual ZKP prize and the International Rostrum of Composers prize in 1959. Lutosławski's harmonic and contrapuntal thinking were developed in this work, and in the Five songs of 1956–57, as he introduced his twelve- note system, the fruits of many years of thought and experiment.Stucky (1981), chapter 3, The years of transition: 1955–1960 He established another feature of his compositional technique, which became a Lutosławski signature, when he began introducing randomness into the exact synchronisation of various parts of the musical ensemble in Jeux vénitiens ("Venetian games").
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H. Kelletat, for the elaboration of the "Wohltemperiert" definition given below, and published in "Zur Musikalischen Temperatur", page 9 (): In most tuning systems used before 1700, one or more intervals on the twelve-note keyboard were so far from any pure interval that they were unusable in harmony and were called a "wolf interval". Until about 1650 the most common keyboard temperament was quarter-comma meantone, in which the fifths were narrowed to the extent that they were just usable, and would thereby produce justly tuned thirds. The syntonic comma was distributed between four intervals, with most of the comma accommodated in the sol to mi diminished sixth, which expands to nearly a minor sixth. It is this interval that is usually called the "wolf", because it is so far out of consonance.
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Schoenberg, inventor of twelve-tone technique The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve- note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes.
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After removing many of what they decided were extraneous elements they then added back in the cooking system, which they felt fit well with the rest of the game, as well as a map system. They then developed the game world and story in a roughly linear manner, creating basic designs of each region and then coming back to fill in details. They felt that this allowed them to create interesting ideas at the beginning of the game and then fill them out and resolve them at the end. One of these ideas was that of the "verse"; Holowka realized partway through development that he had been using the same twelve-note sequence transposed into different keys throughout the music, and realized that the idea of a pervasive musical theme to the world fit with the story.
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Already in Berlin he was taking an interest in jazz and at the same time developing a very personal form of the twelve-note method, making use of not one but several tone-rows in a work and organizing these rows to define different thematic and harmonic areas. (For example, the Largo Sinfonico employs no fewer than 16 twelve-tone rows.) Like Schoenberg, he persistently cultivated classical forms (such as sonata, variations, suite), but his worklist is divided between atonal, twelve-tone and tonal works, all three categories spanning his entire composing career. Such apparent heterogeneity could have been intensified by a love of Greek folk music. The most striking example of his commitment to Greek folk music is the series of 36 Greek Dances composed for orchestra between 1931 and 1936, arranged for various different ensembles in the ensuing years and in part radically re-orchestrated in 1948–49.
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Stop consists of forty-two sections, each characterised by a different configuration of pitches, or by noises . The durations of these groups are related by proportions of Fibonacci numbers, while their pitches are based on a twelve-note "central chord", within which a succession of nine single tones progresses gradually downward, alternating with a rising progression of six bichords that suddenly falls into the bass register for an ending, seventh bichord. Interspersed amongst these single and double pitches there are six trichords in a falling-rising pattern, four tetrachords in a jagged down-up-down shape, and two widely separated six- note chords in groups 9 and 41 . According to a different analysis, there are twelve central tones that gradually fall (with one deviation in the middle) over the course of the work : G6 B5 G5 A4 G4 D5 E4 D4 F3 C3 F2 C2.
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Vasilije Mokranjac on a 2009 Serbian stamp Since the early 1970s Mokranjac has gradually transformed his style and achieved a synthesis of all compositional procedures that he had used in earlier decades with a new, refined, lyrical sound world, embroidered with elements of neo-impressionism and the New Simplicity. All of Mokranjac's works from his final creative phase (the Fourth and Fifth Symphonies, Lyric Poem for orchestra, Musica Concertante and Poem, both for piano and orchestra) have been written in a single-movement form (regardless of whether it is labelled as “symphony” or “poem”), mostly unfolding as an enormous dynamic and dramatic arch. In terms of harmony, Mokranjac experiments with Olivier Messiaen's system of “modes with limited transposition”: for example, in his Lyric Poem (1974) and Fifth Symphony (subtitled Quasi una poema, 1979) Mokranjac employs Messiaen's Second Mode. A twelve-note row is also used, but this time, instead of being treated as a passing illustration (as it happened in the Third Symphony), it is now treated as a true theme which is subjected to a traditional thematic/motivic development (for example in the Fourth Symphony and Musica Concertante).
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