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Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951). 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 note〔Perle 1977, 2.〕 through the use of tone rows, orderings of the 12 pitch classes. 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-20th century. Schoenberg himself described the system as a "Method of composing with twelve tones which are related only with one another".〔Schoenberg 1975, 218.〕 It is commonly considered a form of serialism. Schoenberg's countryman and contemporary Josef Matthias Hauer also developed a similar system using unordered hexachords or ''tropes''—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.〔Whittall 2008, 25.〕 ==History of use== Invented by Austrian composer Arnold Schoenberg in 1921 and first described privately to his associates in 1923,〔Schoenberg 1975, 213.〕 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".〔Perle 1977, 9–10.〕 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.〔Perle 1977, 37.〕 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.〔Neighbour 1955, 53.〕 "Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, the ostinato".〔 Additionally, John Covach argues that 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.〔John Covach quoted in Whittall 2008, 24.〕 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."〔Whittall 2008, 24.〕 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,〔Reti 1958,〕 providing a "positive premise" for atonality.〔 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.〔 Schoenberg's idea in developing the technique was for it to "replace those structural differentiations provided formerly by tonal harmonies".〔 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."〔Chase 1987, 587.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Twelve-tone technique」の詳細全文を読む スポンサード リンク
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