![]() ![]() Notable among the products of this 'school' are certain works of Harry Somers, whose piano fugues 12 X 12 (1951) reflect Bach and Schoenberg and whose Woodwind Quintet (1948) explores the Weinzweigian principle of motivic selection from the 12-tone row. A kind of '12-tone school' developed at the University of Toronto from Weinzweig's use of the technique as a training for young composers. ![]() Once persuaded, however, she used the method with great freedom. Weinzweig's contemporary, Barbara Pentland, was introduced to the serial method by Dika Newlin, a pupil of Schoenberg, but was not inspired to use it until she heard the music of Webern in 1955. 1, 1939) rather than exploiting it systematically. In Canada, John Weinzweig pioneered dodecaphony in a way that was selective and individualistic from the outset, employing the row as the source of various motives ( Piano Suite No. Also influenced by Webern was Igor Stravinsky, whose In Memoriam Dylan Thomas (1954) is among the pieces by numerous composers exemplifying the use of a series of fewer than 12 pitch classes. Besides Webern, the pioneers in this field were Milton Babbitt, Olivier Messiaen, Karlheinz Stockhausen, and Pierre Boulez. Schoenberg's 12-tone method proved to be adaptable to the compositional styles of a wide variety of composers, beginning with his two most famous pupils - Berg, who subscribed to a freer conception of dodecaphony which did not avoid tonal allusions, and Webern, whose use of the method was the strictest of the three, and whose interest in systems of organization applied to other musical elements in addition to pitch classes (such as dynamics, articulations, etc.) led the way towards the post-World War II 'total serialism' movement. Schoenberg's method stipulates that only one basic set be used in a composition, promoting unity, and that octave doublings and the over-emphasis of any particular pitch class be avoided to minimize the danger of interpreting such tones as tonics. Joseph Hauer devised a 12-note method of his own during the same approximate time (1912-21), which differs from Schoenberg's in several critical respects and did not achieve anything like as widespread use. The 12-note method was developed by Arnold Schoenberg over a period of several years leading up to the fall of 1921, growing out of Schoenberg's need to establish a methodology for composing atonal music. ![]() The resultant matrix of 48 distinct but related forms of the series constitutes all the possible pitch material available for a strict 12-tone composition most works composed in this manner employ considerably fewer forms, however. Any given series will yield three corollaries through the process of inversion (I), retrograde (R), and retrograde-inversion (RI see figure) each of these may in turn be transposed to begin on any of the remaining 11 pitch classes. The series' length may vary according to the composer's wishes, but the most common form of serialism is '12-tone technique' (dodecaphony 12-note technique), where the 12 different pitch classes of the Western chromatic scale are arranged in a particular order (known as the prime form, abbreviated P), and the resulting series is manipulated according to the wishes of the composer in order to create a composition. A method of composing music governed by one or more series (sets, rows) of notes (a more precise term is 'pitch classes') and/or of other musical elements (dynamics, durations, articulations, registers, etc) which enjoyed currency among concert composers in Canada, as in most western countries, in the three decades following World War II. ![]()
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