Editing Twelve-tone technique (section)

==History of use==
{{Listen|type=music
|filename=Schoenberg - Op. 23, mov. 5.mid
|title=Schoenberg's Op. 23, mov. 5, mm. 1–4
|description=The "first 12-note work"<ref>Leeuw 2005, 149.</ref>[[File:Schoenberg - Op. 23, mov. 5.png|center|400px]]
|filename2=Schoenberg - Piano Piece op.33a tone row.mid
|title2=Schoenberg's Piano Piece, Op.&nbsp;33a
|description2=The principal forms, P<sub>1</sub> and I<sub>6</sub>, of Schoenberg's [[Zwei Klavierstücke (Schoenberg)|Piano Piece, Op.&nbsp;33a]], tone row feature hexachordal combinatoriality and contains three perfect fifths each, which is the relation between P<sub>1</sub> and I<sub>6</sub> and a source of contrast between, "accumulations of 5ths", and, "generally more complex simultaneity".<ref>Leeuw 2005, 155–157.</ref> For example, group A consists of B{{music|flat}}–C–F–B{{music|natural}} while the, "more blended", group B consists of A–C{{music|#}}–D{{music|#}}–F{{music|#}}.[[File:Schoenberg - Piano Piece op.33a tone row.png|center|400px]]
}}
The twelve-tone technique is most often attributed to Austrian composer [[Arnold Schoenberg]]. He recalls using it in 1921 and describing it to pupils two years later.<ref>Schoenberg 1975, 213.</ref> Simultaneously, [[Josef Matthias Hauer]] was formulating a similar theory in his writings. In the second edition of his book ''Vom Wesen Des Musikalischen'' (On the Essence of Music, 1923), Hauer wrote that the law of the atonal melody requires all twelve tones to be played repeatedly.<ref>Hauer, Josef Matthias, 1883-1959. ''[https://hdl.handle.net/2027/mdp.39015009463897?urlappend=%3Bseq=57%3Bownerid=13510798884266709-61 Vom Wesen Des Musikalischen: Ein Lehrbuch Der Zwölftöne-musik]''. Berlin-Lichterfelde: Schlesinger (R. Lienau), 1923. 51.</ref>

The method was used during the next twenty years almost exclusively by the composers of the [[Second Viennese School]]—[[Alban Berg]], [[Anton Webern]], and Schoenberg himself. Although, another important composer in this period was [[Elisabeth Lutyens]] who wrote more than 50 pieces using the serial method.<ref>{{Cite journal |date=1983 |title=Elisabeth Lutyens |url=https://www.jstor.org/stable/964096 |journal=The Musical Times |volume=124 |issue=1684 |pages=378 |jstor=964096 |issn=0027-4666}}</ref>

The twelve tone technique was preceded by "freely" [[atonality|atonal]] pieces of 1908–1923 which, though "free", often have as an "integrative element&nbsp;... a minute intervallic [[cell (music)|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".<ref>Perle 1977, 9–10.</ref> 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.<ref name="Perle 1977, 37">Perle 1977, 37.</ref> 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.<ref>Neighbour 1955, 53.</ref> "Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, the [[ostinato]]".<ref name="Perle 1977, 37"/> Additionally, John Covach argues that the strict distinction between the two, emphasized by authors including Perle, is overemphasized:

<blockquote>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.<ref>John Covach quoted in Whittall 2008, 24.</ref></blockquote>

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."<ref name="Whittall 24">Whittall 2008, 24.</ref>

[[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,<ref name="Reti">Reti 1958</ref>{{Page needed|date=June 2009}} providing a "positive premise" for atonality.<ref name="Perle 1977, 2"/> 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.<ref name="Whittall 24"/>

[[Felix Khuner]] contrasted Hauer's more mathematical concept with Schoenberg's more musical approach.{{sfn|Crawford and Khuner|1996|loc=28}} Schoenberg's idea in developing the technique was for it to "replace those structural differentiations provided formerly by [[tonality|tonal]] [[harmony|harmonies]]".<ref name="Schoenberg 1975, 218"/> As such, twelve-tone music is usually [[atonality|atonal]], and treats each of the 12 [[semitone]]s 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 (music)|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]] said 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."<ref>Chase 1987, 587.</ref>

American composer [[Scott Bradley (composer)|Scott Bradley]], best known for his musical scores for works like ''[[Tom & Jerry]]'' and ''[[Droopy Dog]]'', utilized the 12-tone technique in his work. Bradley described his use thus:
{{quote|The Twelve-Tone System provides the 'out-of-this-world' progressions so necessary to under-write the fantastic and incredible situations which present-day cartoons contain.<ref>{{cite web|url=http://tralfaz.blogspot.com/2017/01/cartoon-composer-scott-bradley.html|title=Tralfaz: Cartoon Composer Scott Bradley|last=Yowp|date=7 January 2017}}</ref>}}

An example of Bradley's use of the technique to convey building tension occurs in the ''Tom & Jerry'' short "[[Puttin' on the Dog]]", from 1944. In a scene where the mouse, wearing a dog mask, runs across a yard of dogs "in disguise", a chromatic scale represents both the mouse's movements, and the approach of a suspicious dog, mirrored octaves lower.<ref>{{cite book|last=Goldmark|first=Daniel|title=Tunes for 'Toons: Music and the Hollywood Cartoon|url=https://books.google.com/books?id=4mo3DwAAQBAJ&pg=PA71|year=2007|publisher=Univ of California Press|isbn=978-0-520-25311-7|page=71}}</ref> Apart from his work in cartoon scores, Bradley also composed [[tone poem]]s that were performed in concert in California.<ref>{{IMDB name|nm0005973|Scott Bradley}}</ref>

Rock guitarist [[Ron Jarzombek]] used a twelve-tone system for composing [[Blotted Science]]'s [[extended play]] ''[[The Animation of Entomology]]''. He put the notes into a clock and rearranged them to be used that are side by side or consecutive. He called his method "Twelve-Tone in Fragmented Rows."<ref name="ms">{{cite web |last1=Mustein |first1=Dave |title=Blotted Science's Ron Jarzombek: The Twelve-tone Metalsucks Interview |url=https://www.metalsucks.net/2011/11/02/blotted-sciences-ron-jarzombek-the-twelve-tone-metalsucks-interview/ |website=MetalSucks |access-date=19 January 2021|date=2 November 2011}}</ref>