The second problem, an aesthetic one, was that of the emergence of 'the twelve-tone system' as a major and practically universal preoccupation of composers of the day.
To be fair, this modernist attitude is not limited to electroacoustics, since twelve-tone theory was, in part, conceptualised to overthrow classical and romantic principles of composition.
In this light, the history of the twelve-tone technique, so often conveyed as essentially a question of style, can suddenly look, and maybe even sound, very different.
In the strictest of forms i.e., the twelve-tone form, she examines the human condition; the poetry is pitiless, yet redemptive.
The pitch organisation is not based on a twelve-tone row, but rather on a fourteen-note structure, organised into pairs of seven-note sets.
All scales which have the deep scale property may be generated by any interval coprime with (in twelve-tone equal temperament) twelve.
The composer engaged intensively with the latest tendencies in music, including twelve-tone music, atonality, serialism and aleatorics, but always rejected the straitjacket of dogmatism.
His interest in twelve-tone technique was joined with musical-political engagement, though this was short-lived.
