twelve-note - définition. Qu'est-ce que twelve-note
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Qu'est-ce (qui) est twelve-note - définition

MUSICAL COMPOSITION METHOD USING ALL 12 CHROMATIC SCALE NOTES EQUALLY OFTEN & NOT IN A KEY
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  • Aggregates spanning several local set forms in Schoenberg's ''[[Von heute auf morgen]]''.<ref>Haimo 1990, 13.</ref>
  • Arnold Schoenberg, inventor of twelve-tone technique
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  • Wind Quintet]] Op. 26 shows the distribution of the pitches of the row among the voices and the balance between the hexachords, 1–6 and 7–12, in the principal voice and accompaniment<ref>Whittall 2008, 52.</ref>

twelve-note         
(also twelve-tone)
¦ adjective denoting a system of musical composition using the twelve chromatic notes of the octave on an equal basis without dependence on a key system, a technique central to serialism.
dodecaphonic         
[?d??d?k?'f?n?k]
¦ adjective Music another term for twelve-note.
Twelve-tone technique         
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence.

Wikipédia

Twelve-tone technique

The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. 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 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. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.

Schoenberg himself described the system as a "Method of composing with twelve tones which are related only with one another". It is commonly considered a form of serialism.

Schoenberg's fellow countryman and contemporary 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 most historically and aesthetically significant.