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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.
As in all twelve-tone music, there is a mathematical relationship between the prime, inverted, and retrograde series.
A twelve-tone analysis of this piece shows some patterns of the style.
Its components may be fixed with regard to order, in which event it may be employed, like the twelve-tone set, in its literal transformations.
Order is particularly important in the theories of compositional techniques originating in the 20th century such as the twelve-tone technique and serialism.
In twelve-tone music, retrograde treatment of pitch is a commonplace, but rhythmic retrogrades are comparatively rare.
This means that there are six distinct timbres reflecting the pitch structure, which divides the twelve-tone row into two symmetrical six-note cells.
These pieces were all built on an ordered twelve-tone row, with the actual order often determined by chance.
