Composer: Leo Granqvist
From Wikipedia, the free encyclopedia:

Arnold Schoenberg, the inventor of Twelve-tone technique
Josef Matthias Hauer's "athematic" dodecaphony in Nomos Op. 19[1](About this sound Play (help·info))
Example of Hauer's tropes.[2] About this sound Play (help·info)

Twelve-tone technique (also dodecaphony, twelve-tone serialism, and, in British usage, twelve-note composition) is a method of musical composition devised by Arnold Schoenberg. 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[3] through the use of tone rows, an ordering of the 12 pitches. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. The technique was influential on composers in the mid-twentieth century.

Schoenberg himself described the system as a "Method of Composing with Twelve Tones Which are Related Only with One Another".[4] However, the common English usage is to describe the method as a form of serialism.

Josef Matthias Hauer also developed a similar system using unordered hexachords, or tropes, at the same time and in the same country as Schoenberg but with no connection to Schoenberg's twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be historically and aesthetically most significant.[5]
Invented by Austrian composer Arnold Schoenberg in 1921 and first described privately to his associates in 1923,[8] the method was used during the next twenty years almost exclusively by the composers of the Second Viennese School – Alban Berg, Anton Webern, Hanns Eisler and Schoenberg himself.

The twelve tone technique was preceded by "freely" atonal pieces of 1908–23 which, though "free", often have as an "integrative element...a minute intervallic cell" which in addition to expansion may be transformed as with a tone row, and in which individual notes may "function as pivotal elements, to permit overlapping statements of a basic cell or the linking of two or more basic cells".[9] The twelve-tone technique was also preceded by "nondodecaphonic serial composition" used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others.[10] Oliver Neighbour argues that Bartók was "the first composer to use a group of twelve notes consciously for a structural purpose," in 1908 with the third of his fourteen bagatelles.[11] "Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, the ostinato".[10] Additionally, the strict distinction between the two, emphasized by authors including Perle, is overemphasized:

    The distinction often made between Hauer and the Schoenberg school—that the former's music is based on unordered hexachords while the latter's is based on an ordered series—is false: while he did write pieces that could be thought of as "trope pieces", much of Hauer's twelve-tone music employs an ordered series.[12]

The "strict ordering" of the Second Viennese school, on the other hand, "was inevitably tempered by practical considerations: they worked on the basis of an interaction between ordered and unordered pitch collections."[13]

Rudolph Reti, an early proponent, says: "To replace one structural force (tonality) by another (increased thematic oneness) is indeed the fundamental idea behind the twelve-tone technique," arguing it arose out of Schoenberg's frustrations with free atonality,[14] providing a "positive premise" for atonality.[3] In Hauer's breakthrough piece Nomos, Op. 19 (1919) he used twelve-tone sections to mark out large formal divisions, such as with the opening five statements of the same twelve-tone series, stated in groups of five notes making twelve five-note phrases.[13]

Schoenberg's idea in developing the technique was for it to "replace those structural differentiations provided formerly by tonal harmonies".[4] As such, twelve-tone music is usually atonal, and treats each of the 12 semitones of the chromatic scale with equal importance, as opposed to earlier classical music which had treated some notes as more important than others (particularly the tonic and the dominant note).

The technique became widely used by the fifties, taken up by composers such as Milton Babbitt, Luciano Berio, Pierre Boulez, Luigi Dallapiccola, Ernst Krenek, Riccardo Malipiero, and, after Schoenberg's death, Igor Stravinsky. Some of these composers extended the technique to control aspects other than the pitches of notes (such as duration, method of attack and so on), thus producing serial music. Some even subjected all elements of music to the serial process.

Charles Wuorinen claimed in a 1962 interview that while, "most of the Europeans say that they have 'gone beyond' and 'exhausted' the twelve-tone system," in America, "the twelve-tone system has been carefully studied and generalized into an edifice more impressive than any hitherto known."[15]

In 1971 legendary jazz pianist Bill Evans – who played on the landmark modal jazz album Kind Of Blue by Miles Davis – recorded a Grammy Award-winning album called The Bill Evans Album, which included a composition called "T.T.T. (Twelve Tone Tune)" where Evans and his trio explored the jazz implications of using the twelve tone compositional technique.[citation needed]

More recently progressive metal guitarist Ron Jarzombek (Watchtower, Spastic Ink, Blotted Science) used the technique almost exclusively on the track "Oscillation Cycles" off of Blotted Science's album "The Machinations of Dementia". Ron also released a DVD titled "12 Tone Variations" in which similar techniques are explained.[citation needed]

Kaksitoistasäveljärjestelmä eli dodekafonia on musiikin säveltämisen tekniikka, joka perustuu kaikkien kahdentoista kromaattisen tasavireisen sävelen tasavertaisuuteen. Päinvastoin kuin taidemusiikin aiemmissa säveltasojärjestelmissä, modaalisuudessa ja tonaalisuudessa, dodekafonisessa sävellyksessä ei ole perussäveltä, johon muut sävelet suhteutuvat.

Kaksitoistasäveljärjestelmän keksijänä pidetään yleisesti itävaltalaista Arnold Schönbergiä, vaikka samanaikaisia, jopa hieman varhaisempia pyrkimyksiä tämänkaltaiseen atonaalisen musiikin järjestämiseen esiintyi monilla muillakin säveltäjillä.

Kaksitoistasäveljärjestelmässä sävelten tasaveroisuus pyritään takaamaan siten, että kaikkia säveliä kuullaan periaatteessa yhtä monta kertaa. Tasalukuisuus varmistuu rivillä, jossa sävelet on laitettu tiettyyn perättäisyysjärjestykseen. Ankarimman toteutustavan mukaan yhtään säveltä ei saa toistaa ennen kuin 11 muuta on kuultu, mikä kuitenkin käytännössä harvoin toteutuu moniäänisessä musiikissa. Rivin katsotaan takaavan sävellyksen koheesio samoin kuin sävellaji tai moodi ennen. Hyvinkin erilaisin periaattein rakennetut rivit tuottavatkin hyvin erikuuloista musiikkia. Kaksitoistasäveljärjestelmää voidaan pitää yksiulotteisena sarjallisuutena, sillä siinä rivi säätelee nimenomaisesti vain säveltasona. Sarjallisuus kehittettiinkin myöhemmin kaksitoistasäveljärjestelmästä.

(http://fi.wikipedia.org/wiki/Kaksitoistas%C3%A4velj%C3%A4rjestelm%C3%A4)

Atonicity, Atonality, and Pantonality:

Atonicity or atonic music would have no tonic, no pc dominance, and no pitch hierarchy. Atonicity is built upon a premise of negation. But is this really possible? To create completely atonic music would involve a negation of the five attributes listed above: no repetitions, no accents, no durational differences, no endings (cadences), no strategic placements.

Arnold Schoenberg (1874-1951), who believed that music was evolving necessarily and inevitably toward pantonality, where all tones are equalized in importance, tried to rush to what he believed to be its inexorable outcome and claim priority of the new "discovery" before Josef Hauer (1883-1959). Schoenberg tried to write music without repeating notes. His twelve-tone row technique was invented to alter traditional tonality by equalizing the importance of tones. By stating all twelve notes without repetition none would sound more prominent than others -- they would all be equal in importance. Although this seems logical at first glance, Schoenberg probably discovered that this logic is flawed in practice. First of all, notes have durational differences, whereby long notes become more important than short ones. Furthermore, our ubiquitous metrical music has a built in accent on the first beat, which helps to establish tonicity. Additionally, regular, repeating rhythms contribute to tonicity. High notes, especially climaxes (strategically placed), are also more prominant than low notes. There can be no music without cadence, since it must stop sometime. So, cadences do occur in serial twelve-tone music, and these contribute to a sense of tonic. Schoenberg also repeats notes, even in his twelve-tone music, belying a lack of pc priority. Schoenberg and others tried to combat note repetitions by using combinatoriality. Durational and rhythmic priorities were combatted with irregular rhythms and changing meters. Even these techniques fail to prevent pitch priorities. Such techniques may serve to delay a sense of tonicity, but they cannot eliminate it. It is clear that Schoenberg tried to "democratize" tones, believing this to be the logical conclusion of musical evolution, but the very nature of time in music inhibits atonicity. We can only imagine atonicity, but inevitably some notes will have priority over others. Webern was right. Tonicity can be established in atonal music. For an example of how atonal music can have tonicity, see an analysis of Webern's Op 27, Variations for Piano.

Atonality is an apparent lack of key. This excludes modality and tonality. However, atonality, meaning a lack of intelligible key, is actually a calculated confusion of tonicity; i.e., most listeners will not be able to discern a tonic. Objectively, there can be no atonality, as Schoenberg himself maintained. Composers of atonal music try to avoid all reminders of tonal music, evading major and minor chords (tertian chords in general), scales, keys, dominant functions, regular rhythms, repetition, etc. This means that atonality is psychoacoustical; i.e., it depends, at least partly, upon individual sensibilities and subjectivity. 


Twelve Tone Music, Compination off Atonal, Serial and so on

Phenomenon

Altair-II
Composer: Leo Granqvist
This work is made with string quartet.

Altair-II

Sidos
Composer: Leo Granqvist
flute, oboe, clarinet in b, fagotto, Corno in es, Timpani, Violin I, Violin II, alttoviolin, cello, Kontrabass.
Composition has been used in the reduced four-note chords in batches. Allan Forte Bands 4-28 according to the classification and the complements.
Moment at which the composition is 06/07/2008

Sidos

Folating in Space
Composer: Leo Granqvist
synthesizer
choir
clarinet in B
upright bass
ethnic percussion

Floating in Space

Tripylon
Composer: Leo Granqvist
Composition of materials consisting of asymmetric and symmetric reverse forces. Allen Forte's classification of the set of classes 6, 7, 8, and their complement, and reverse a number of classes. The complement of classes due to the octave doubling is easily avoided

Tripylon

Refraction:
Composer: Leo Granqvist
Refraction is the change in direction of a wave due to a change in its speed. It is essentially a surface phenomenon . The phenomenon is mainly in governance to the law of conservation of energy. The proper explanation would be that due to change of medium, the phase velocity of the wave is changed but its frequency remains constant. This is most commonly observed when a wave passes from one medium to another at any angle other than 90° or 0°. Refraction of light is the most commonly observed phenomenon, but any type of wave can refract when it interacts with a medium, for example when sound waves pass from one medium into another or when water waves move into water of a different depth. Refraction is described by Snell's law, which states that for a given pair of media and a wave with a single frequency, the ratio of the sines of the angle of incidence θ1 and angle of refraction θ2 is equivalent to the ratio of phase velocities (v1 / v2) in the two media, or equivalently, to the opposite ratio of the indices of refraction (n2 / n1):
(From Wikipedia)

Refraction

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