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tone row
In music, a tone row or note row ((ドイツ語:Reihe'' or ''Tonreihe)), also series and set,〔George Perle, ''Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern'', fourth Edition (Berkeley, Los Angeles, and London: University of California Press, 1977): 3. ISBN 0-520-03395-7.〕 refers to a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found.
==History and usage==
Tone rows are the basis of Arnold Schoenberg's twelve-tone technique and most types of serial music. Tone rows were widely used in 20th-century contemporary music, e.g. Shostakovich's use of twelve-tone rows, "without dodecophonic transformations",〔Kirkman, Andrew and Ivashkin, Alexander (2013). ''Contemplating Shostakovich: Life, Music and Film: Life, Music and Film'', . Ashgate. ISBN 9781409472025.〕 though one has been identified in the A minor prelude from book II of The Well-Tempered Clavier (1742) by J. S. Bach,〔(Discovery Reveals Bach's Postmodern Side ). Weekend Edition Sunday, NPR, 6 September 2009.〕 and by the late eighteenth century was a well-established technique, found in works such as Mozart's C major String Quartet, K. 157 (1772), String Quartet in E-flat major, K. 428, String Quintet in G minor, K. 516 (1790), and the Symphony in G minor, K. 550 (1788).〔Hans Keller, "Strict Serial Technique in Classical Music", ''Tempo'', New Series, no. 37 (Autumn, 1955): 12–24; citations on 14–21.〕 Beethoven also used the technique but, on the whole, "Mozart seems to have employed serial technique far more often than Beethoven".〔Keller 1955, 22–23.〕 Hans Keller claims that Schoenberg was aware of this serial practice in the classical period, and that "Schoenberg repressed his knowledge of classical serialism because it would have injured his narcissism."〔Keller 1955, 23.〕 There are also examples in the works of Liszt.
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