Modern musical trend created by the Austrian composer A. Schoenberg

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dodecaphony

Alternative questions in crossword puzzles for the word dodecaphony

One of the types of composing technique of the 20th century, a method of composing music based on the denial of the modal connection between sounds and the assertion of the absolute equality of all 12 tones of the chromatic scale and without highlighting the tonic

Music composition method

Western avant-garde music style of the 1960s

Modern music. flow

Word definitions for dodecaphony in dictionaries

Wikipedia The meaning of the word in the Wikipedia dictionary
Dodecaphony (from - twelve and - sound) is a technique of musical composition, a kind of serial technique that uses a series of "twelve only correlated tones".

Great Soviet Encyclopedia The meaning of the word in the dictionary Great Soviet Encyclopedia
(from the Greek dódeka ≈ twelve and phonе ≈ sound; literally ≈ twelve sounds), a method of composing music that arose in the process of developing atonalism (see Atonal music). One of the paths to modern avant-gardism. The first attempts to create musical works...

Encyclopedic Dictionary, 1998 The meaning of the word in the dictionary Encyclopedic Dictionary, 1998
DODECAPHONIA (from the Greek dodeka - twelve and phone - sound) is a method of composing music that arose in the 20th century. Designed by the Austrian composer A. Schoenberg. The musical fabric of a work written in the dodecaphony technique is derived from the so-called. series (series, German ....

Examples of the use of the word dodecaphony in the literature.

dodecaphony, aleatorics, sonoristic effects, collage are organically used by the composer, but nowhere do they turn into a self-sufficient goal.

In addition, in the 70s, when it began to be noticed, atonal music, aleatoric, dodecaphony, electronics, the replacement of pitch structures by timbre masses, in a word, the entire modernist project has turned into an orthodoxy taught in colleges.

The first of the Italian composers, Dallapiccola, turned to the method dodecaphony.

Schoenberg Dallapiccola uses dodecaphony to convey increased emotional stress and even as a kind of protest.

Of course, he could not accept this primitive identification of atonalism and dodecaphony with the negative, negative, and tonal with the sphere of the positive, and here I would completely agree with him now, but regarding the second, which also caused him displeasure, is the question of mixing styles, then here I would certainly argue with him and currently.

DODECAPHONIA

DODECAPHONIA

(ancient Greek dodecaphonia - twelve sounds), or a composition based on 12 correlated tones, or serial music ( cm. SERIAL THINKING) is a method of musical composition developed by representatives of the so-called "New Viennese school" (Arnold Schoenberg, Anton Webern, Alban Berg) in the early 1920s. The history of the development of the musical language of the late nineteenth century. - "the path to new music", as Webern himself described it, was dramatic and thorny. As always in art, some systems become obsolete and new ones take their place. In this case, during the second half of the nineteenth century. the so-called diatonic system, familiar to us from the music of Mozart, Beethoven and Schubert, gradually became obsolete, that is, the system of opposition of major and minor. The essence of this system is that of the 12 sounds that the European ear distinguishes (the so-called temperamental system), you can take only 7 and build a composition based on them. Seven sounds formed a tonality. For example, the simplest key in C major uses the well-known scale: do, re, mi, fa, salt, la, si. Visually - this key uses only the white keys on the piano. The tonality of C minor differs in that instead of mi, E-flat appears. That is, in the key of C minor, it is no longer possible to use a simple mi, with the exception of the so-called modulations, that is, transitions to a related key that differs from the original one by a decrease or increase by half a tone. Gradually towards the end of the nineteenth century. modulations became more and more daring, composers, in the words of Webern, "began to allow themselves too much." And now the contrast between major and minor gradually began to fade away. It begins with Chopin, it is already clearly visible with Brahms, the music of Gustav Mahler and impressionist composers - Debussy, Ravel, Duke is built on this. By the beginning of the twentieth century. Novye composers who experimented with musical form reached a dead end. It turned out that you can compose music using all twelve tones: it was chaos - a painful period of atonality. There were two opposite paths out of the musical chaos. Stravinsky, Hindemith, Shostakovich were the first to complicate the diatonic system through polytonality ( cm. VERLIBRATION). The second, tough path was taken by the New Viennese, and this was musical logaedization ( cm. LOGAEDIZATION), that is, the creation of an entire system from a fragment of an old system. The fact is that by the end of the nineteenth century. not only the diatonic principle fell into decline, but also the classical Viennese harmony itself, that is, the principle according to which there is a voice leading the melody, but there is an accompaniment. In the history of music, Viennese harmony was preceded by counterpoint, or polyphony, where there was no hierarchy of melody and accompaniment, but several equal voices. The Novovenets largely returned to the system of strict pre-Bach counterpoint. Rejecting harmony as a principle, they were more easily able to organize music in a new way. Without abandoning the equality of 12 tones (atonal), Schoenberg introduced a rule according to which, when composing a composition in a given and any opus, a sequence of all non-repeating 12 tones must go through (this sequence became known as a series ( cm. SERIAL THINKING)), after which it could be repeated and varied according to the laws of counterpoint, that is, be 1) direct; 2) rakhodnaya, that is, going from end to beginning; 3) inverted, that is, as if inverted relative to the horizontal, and 4) inverted. The composer had four series in his arsenal. This was, of course, very little. Then a rule was introduced, according to which the series could start from any step, retaining only the original sequence of tones and semitones. Then 4 series, multiplied by 12 temperament tones, gave 48 possibilities. This is the essence of 12-tone music. Revolutionary in its essence, it was in many ways a return to the principles of pre-baroque music. Its basis, firstly, is the equality of all sounds (in the Viennese classical diatonic harmony, major / minor system, the sounds are not equal to each other, but are strictly hierarchical, it is not for nothing that harmonic diatonicism is a child of classicism, where a strict order prevailed in everything). Secondly, the equalization of sounds in rights made it possible to introduce another feature that is also characteristic of strict counterpoint - these are horizontal and vertical connections that permeate the musical opus. The symbol of such a composition for the New Viennese was the magic square, which can be read with equal results from left to right, right to left, top to bottom and bottom to top. The well-known Latin verbal version of the magic square is given by Webern in his book "The Way to New Music". S A T O R A R E P O T E N E T O P E R A P O T A S ("Sower Arepo to work tirelessly"). Subsequently, Schoenberg's students Webern and Berg abandoned the obligatory 12-sounding of the series (orthodox dodecaphony), but they retained the seriality itself. Now the series could contain any number of sounds. For example, in Berg's Violin Concerto, the series is the motif of violin tuning: sol - re - la - mi. The series became autological, it became a story about itself. Serial music developed rapidly until the 1950s. She even paid a generous tribute to the master of the opposite direction, Igor Stravinsky. Toward more radical systems in the 1960s. the French composer and conductor Pierre Boulez and the German composer Karlheinz Stockhausen came. D., like classical modernism, held out actively in the period between the world wars, being an undoubted analogue of logical positivism ( cm. LOGAEDIZATION, ANALYTICAL PHILOSOPHY), as well as structural linguistics ( cm. STRUCTURAL LINGUISTICS). After the Second World War, all cultural systems that originated before the First World War began to mitigate and mutually consolidate, which resulted in postmodernism ( cm. POSTMODERNISM).

Dictionary of 20th century culture. V.P. Rudnev.

dodecaphony

(from the Greek dodeka - twelve and phone - sound, lit. - twelve sounds) A way to compose music using "twelve only correlated tones" ("Komposition mit zwolf nur aufeinander bezogenen Tonen" - A. Schoenberg), one of the types of modern musical technology. Arose in the process of development of atonal music. Various kinds of dodecaphone technique are known. Of these, the methods of Schoenberg and I. M. Hauer have acquired the greatest importance. The essence of Schoenberg's D. method is that the melodic voices and consonances that make up a given work are produced directly or ultimately from a single primary source - a selected sequence of all 12 sounds of the chromatic scale, interpreted as a unity. This sequence of sounds is called a series (French serie - series, German Reihe; Schoenberg originally used the term Grundgestalt - the main image, the main primary form). The series is a set of intervals chosen by the author for this work. None of the sounds in the series is repeated: the very order of sounds is strictly defined (some theorists of D. consider it the equivalent of modality). As a complex of interval relationships between sounds, a series is like a melodic motif, a phrase. The overall structural function of the series is comparable to the role of the main motive, the characteristic harmonic succession in underdecaphonic music, the main melodic scale as a model for melodic formations in some national musical cultures. Thus, the series combines two phenomena: twelve-tone with a strictly defined sequence of sounds (analogous to modality) and structural unity, integrity (similar to the melodic thread of a motive, phrase). The principle of using the series is its constant repetition. The series can be carried out horizontally, forming melodic motifs (polyphony is not predetermined by the series, however, it can be formed from a combination of voices, in each of which one of the sound forms of the series is performed), vertically, forming chords (while the series does not provide melodic sequences), or in various combinations of both movements. In any case, within the limits of a series, the sounds must retain their given correlation with each other. To a limited extent, the repetition of a sound or a group of sounds is allowed. The omission of any sound of a series is not allowed (however, for example, some sounds of a series can form a consonance, against which the rest unfold). The series can be used divided into segments (into two sixes of sounds, 3 fours, 4 threes, into segments of unequal number of sounds). When composing, the choice of one or another group of sounds of the series for melody, contrapuntal voices and chords, the choice of mode and its pitch position completely depends on the composer's desire, as well as rhythm, meter, line drawing, texture (homophonic, polyphonic, mixed or variable), register (the sounds of the series can be taken in any octave), timbre, dynamics, motive structure, form, genre, character of the piece, etc. The logic of musical development, style and expression are associated with the regular organization of the whole, primarily with the system of pitch relations created by the composer . The unmotivated introduction of any other combinations of sounds is not allowed, however, each series practically allows the use of any necessary combinations of them (if they are derived from this series). J.M. Hauer's method differs significantly from Schoenberg's. Hauer does not use series, but the so-called. trails. A trope is a 12-tone complex consisting of two complementary six sounds, which can be considered both as scales and as chords. A total of 144 trails are possible. Like the modes of the series, each trope can be presented from any of the 12 sounds. Unlike the series, in each "six" changes in the order of sounds are allowed (in this respect, the paths are similar to the modal scales). D. as a conscious method of composition arose in the late 10s - early. 20s 20th century (Hauer - c. 1918 -1919, Schoenberg - 1921-23). The prerequisites for its emergence were the complete emancipation of dissonance and the weakening of the organizing power of tonality, or even its complete loss in the so-called. "atonalities" that forced composers to look for new constructive means. The emergence of D. was favored by the ever wider use of motive-thematic connections (in particular, the principle of monothematism) and the technique of additional (in relation to harmonic-functional connections) constructive complexes of intervals and other sound groups (preforms of the series) that came into use. In the later work of Scriabin, they have already turned from an additional means into a main one (“synthetic chord” in “Prometheus”, 1909-1910). Approximately 1908 are the first 12-tone experiments of Hauer, to the 10th years. - compositions and sketches in the dodeca-background type technique of A. Webern, A. Schoenberg, N. A. Roslavets. D. symbolizes great refinement in the system of sound relations, their new differentiation and complexity. Twelve-tone opens up new areas of musical expression. Aesthetic perception develops historically and moves towards the development of everything valuable that the creators of music offer; is also mastered by D. When at the beginning of the century Prokofiev for the first time in Russia played Schoenberg's "atonal" plays op. 11, the audience just laughed; at the end of the century, she treats them with at least attention, and in many cases with understanding. The essence of the problem is rooted in a purely musical reason - the acceptability or unacceptability of a system of twelve autonomous sound stages. By the end of the century, it should be noted that even among composers there is no unity on this issue. There is no doubt that 12-tones turned out to be not someone's random abstruse invention, but a natural stage in the general process of the evolution of musical consciousness. But it is also undoubted that for, perhaps, even the majority of composers (not to mention the mass of the public), 12-tone is by no means the initial concept, as for Webern in 1911. An indisputable fact is also the powerful and diverse development of 12-tone throughout centuries and firmly anchoring it in the history of music. Within this or that situation, there can be various aesthetic platforms and concepts, both obviously traditionally “classical”, and “non-classical”, even “anti-classical”. Despite the stunning development of Webern's hemitonics, his aesthetics are completely traditional and lie on the line: the Netherlands - Bach - Beethoven - Brahms ("Central European tradition", in Webern's words). Schoenberg's position is similar. It would be naive to believe that D. was born from expressionism (or some other “ism”), which is undoubtedly present in Schoenberg’s aesthetics: “the tragic worldview of the intelligentsia” (as they write about expressionism) can be expressed without D. and atonality, just as as well as to oppose the ideals of classical and romantic art, if anyone needed it (this does not apply to Schoenberg). Alban Berg's "human, all too human" music in an aesthetic sense is quite close to the aesthetics of late romanticism (including elements of merciless realism in "Wozzeck" and "Lulu"). Some of the later composers, already educated on D. and serialism, on Webern and Schoenberg, think in terms of 12 tones as in a traditional system taken for granted. They do not discover hemitonics, but proceed from it. For example, these are Boulez ("Hammer without a master"), Stockhausen (opera heptology "Light"); from the newest Russian composers - D. Smirnov ("Pastoral" for orchestra, 1 symphony). For such artists, 12-tones is the prosaic norm of music. A witty experience of combining seemingly mutually exclusive things - seriality and folk genre, "elitism" and general accessibility - is represented by the piano cycle of A. Babadzhanyan "6 paintings", 1965 (one of the plays is "Folk"; it turns out "folk D."). 12-tone in the form of D., atonality, serialism has developed naturally as a stage in the centuries-old development of musical consciousness and, on the one hand (namely, from the point of view of genesis), grows on the trunk of a powerful tradition of romantic harmony, and on the other (namely, as a result of the evolution ), - 12-tones should be considered, whether "classical" or "non-classical", as a radical new achievement in musical thinking.

Lit: Webern A. Lectures on Music. Letters. M.. 1975;

Kurbatskaya S. Serial music: issues of history, theory, aesthetics. M.. 1966;

Adorno T.V. Favorites: Sociology of Music. M., - St. Petersburg, 1999;

Adorno Th. W. Philosophie der Neuen Musik. Tubungen, 1949.

Yu.Kholopov

Lexicon of non-classics. Artistic and aesthetic culture of the XX century.. V.V. Bychkov. 2003 .

• Illustrated Encyclopedic Dictionary

- (from Greek δώδεκα twelve and Greek φωνή sound) technique of musical composition, a kind of serial technique using a series of "twelve only correlated tones". Dodecaphone methods of composing music were ... ... Wikipedia

- (from the Greek dódeka twelve and phone sound; literally twelve sounds) a method of composing music that arose in the development of atonalism (see Atonal music). One of the paths to modern avant-gardism. The first attempts to create musical ... Great Soviet Encyclopedia

- (from Greek dodeka twelve and ponn sound, lit. twelve sounds) a way to compose music using only twelve correlated tones (Komposition mit zwölf nur aufeinander bezogenen Tönen, A. Schoenberg), one of the types of modern ... Music Encyclopedia

- [de], and; and. [from Greek. dōdeka twelve and phōnē sound, voice] Muz. A method of musical composition based on the assertion of the absolute equality of the twelve tones of the chromatic scale and the denial of modal connections. ◁ Dodecaphonic, oh, oh. * * *… … encyclopedic Dictionary

dodecaphony- (from Greek δωδεχα twelve and φωνη sound) serial music, serialism, created at the beginning of the 20th century. a type of modern atonal composing technique. D. is based on the concept of a series arbitrarily established before the creation of a product. ... ... Russian humanitarian encyclopedic dictionary

- (from Greek sound, lit. twelve sounds) a way to compose music using only twelve tones correlated with each other (A. Schoenberg), one of the types of modern musical technology, arose in the process of developing atonal music. At the base… … Music dictionary

G. A method of musical composition based on the denial of modal connections between sounds and on the absolute approval of all tones of the chromatic scale. Explanatory Dictionary of Ephraim. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language Efremova

Dodecaphony (ancient Greek dodecaphonia - twelve sounds)

Dodecaphony was developed by representatives of the "New Viennese school" (Arnold Schoenberg, Anton Webern, Alban Berg) in the early 1920s. This is a composition method in which the entire musical fabric is derived from a single source - a selected sequence of all 12 sounds of the chromatic scale. This sequence is called a series.

The series serves as an individualized carrier of the artistic image, that is, it performs the functions of a theme (in a tonal composition) or a mode (in a modal composition). Because repeating the same series over and over can lead to a boring monotony, it is used in four forms:

• straight,
• shellwalker (the sounds of the series sound from the end to the beginning),
• inversion (reproduces the intervals of the series in reverse order),
• inversion crustacean (combination of the 2nd and 3rd types).

The four forms of the series are abbreviated by the first sounds of the Latin names:

• Prima - P, from the Latin Primus - the first, initial;
• Crayfish - R, from the Latin Retroversus - facing backwards;
• Inversion - I, from the Latin Inversus - inverted;
• Cancer inversion - RI, combination of R and I.

These modifications of the series were taken from the polyphonic practice of the 17th-18th centuries. In addition, the sounds of a series can appear not only sequentially, composing a kind of melody, but also simultaneously, forming a consonance. To further expand the range of possibilities of dodecaphony, a series can be built from all 12 sounds of the chromatic scale. For Alban Berg, one series in various versions was enough to create an entire opera (“Lulu”). also based on the same series.

A series is more than a theme, since there is nothing in the work other than conducting a series. But a series is less than a theme, since usually a theme is an already formed musical image, embodied with the help of rhythm, meter, tempo, texture, dynamics, etc. The series is a "semi-finished product".

The dodecaphonic method of composition has gained a lot of admirers. Unlike some other similar systems born at the beginning of the 20th century (M. Hauer's tropes), dodecaphony has become widespread in the practice of major composers, including those far from Schoenberg's aesthetic platform. Nevertheless, this method did not become universal and self-sufficient - even for its creator.

Many composers did not fully use the dodecaphone system, composing a series of a small number of sounds (4-9). This composing technique is called serial.

A special type of serial technology is serial. Here, not only the pitch of the sounds, but also the rest of the parameters of the musical fabric are built into a clear sequence (series), making up an integral serial mode: durations, dynamic nuances, and even ways of sound articulation (legato, staccato, portamento). Most often, continuous seriality is introduced as an episode in larger works (A. Webern, P. Boulez, K. Stockhausen). And only small piano or orchestral compositions are completely written in this technique (A. Webern "Five Pieces for Orchestra").

Serial music developed rapidly until the 1950s. She even paid a generous tribute to the master of the opposite direction, Igor Stravinsky. More radical systems were developed in the 1960s by the French composer and conductor Pierre Boulez and the German composer Karlheinz Stockhausen.

Music

In music, expressionism arose through the absolutization of emotionality and the destruction of the classical image. Musical expressionism was influenced by romanticism with its cult of Wagner. The prerequisite for expressionism in music was the expansion of the mode and tonality by romantic composers to twelve chromatic steps, the increase in the value of dissonance, the complication of thinking, and the struggle between tonal and atonal music that began around 1908. Expressionist music is full of fatalism and pessimism. This music affirms the disharmony of the world hostile to the personality. Atonality becomes an artistic means of expressing this concept.

Expressionism in music focuses on depicting the fatal suffering, pain and despair of an alienated individual. In this respect, the opera Woyzeck by A. Berg has much in common with Munch's paintings and Kafka's novel The Trial. Berg conveys the disastrous fate of the "little man", reveals the idea: the personality is fatally defenseless and doomed.

A. Schoenberg in "The Happy Hand" implements and proclaims this concentration on the inner world: "Poor, you are looking for earthly happiness, having unearthly in yourself! .. You strive to grab what eludes you, as soon as you master it, but what is at the same time in you and around you, wherever you are."

Austrian composer and teacher, creator of dodecaphony Arnold Schoenberg (1874-1951) in his work "The Teaching of Harmony" (1911) wrote that the artist is not looking for an opportunity to convey the beautiful, but strives for self-expression. In the almanac "The Blue Rider" (1912), he emphasized the correctness of avant-garde artists who renounced Aristotelian mimesis, from imitation of nature as the basis of naturalism and its derivative - impressionism. He wrote: "When Karl Kraus says that language is the mother of thinking, when Oskar Kokoschka creates pictures whose object is in his external materiality - rather, it is only an excuse to subordinate forms and colors to the free flight of fantasy and express himself in the way that has until now been possible only to the composer, then all these are symptoms showing that, little by little, an understanding of the true essence of art is spreading.

Kiel University Professor Werner Kolschmidt argues that expressionism is an art imbued with nihilistic pathos and full of a thirst for strong experiences and a desire to escape from the dead burgher life in any way.

Dodecaphony as a musical movement

Dodecaphony, created by Schoenberg (1921), acted as a musical trend within expressionism. The music is based on the twelve-tone composition system. The melody of the work is derived from a series of a certain sequence of 12 sounds of different pitches. The twelve tones of the chromatic series are arranged in a certain order and the composer avoids the repetition of notes (this is a series, a series of tones).

Dodecaphony is characterized by the joy of experiencing the chaos of being and an apocalyptic worldview.

In addition to Arnold Schoenberg, the Novye Viennese Expressionist composers Anton Webern and Alban Berg took part in the creation of dodecaphony.

art

Figures in expressionist sculpture, as in painting, are sketchy and deformed. The artist F. Mark believes that expressionism calls on a person to become pure in the face of today's confusion of minds. Mark believes that this can only be achieved by isolating one's own life and business. By this, expressionism supports the abstractionist idea of ​​non-objectivity.

Expressionism was an international art product. So, the forerunners of German expressionism were the Norwegian Edvard Munch (1863-1944) and a Belgian of Anglo-Flemish origin James Ensor (1860-1949).

Ensor on his canvases created the image of the world as an ominous carnival, in which skeletons and people in uniform with evil faces similar to untinted plaster masks or with red heads take part.

Munch's paintings were highly valued by Van Gogh. E. Munch's painting "The Scream" can serve as an artistic symbol of expressionism. In some abstract urban space, a man is depicted with his mouth open in a scream. The abyss of this mouth is the compositional center of the picture. Why is this person screaming? The artist does not show any danger that threatens him. And the viewer has the right to assume some universal cause of human suffering. The world is hostile to the individual as such, regardless of his qualities. Before us is a "man without qualities", whose only connection with the world is horror at his imperfection, disharmony, inhumanity. The space around the screaming mouth is organized in such a way that the viewer gets the feeling that a heartbreaking scream is spreading in concentric circles around the world, filling it. However, the world remains deaf and unanswered, it is indifferent to pain; man is helpless before the formidable reality. Munch seems to be saying that a person in this alienated world can only scream about his pain, scream without hope of help, as an agonizing living creature instinctively screams. In the painting "The Scream", the feeling of horror is enhanced by the fiery red sky.

Expressionism showed the tragic fate of suffering and despair of the individual, and such an interpretation of the individual is facilitated by the image of the world around her, in which the landscape is deformed and appears as a vision of a nightmare.

For Munch, composition becomes the main tool for the artistic depiction of reality.

Expressionist painting is based on the primitivist plastic traditions of peoples in the early stages of social development.

A prominent representative of expressionism is a German artist Emil Nolde (nast, surname Hansen, 1867-1956). His works are rich in color, contrasting in color, dramatic, exalted and full of mysticism. In them, real objects are deformed in order to reveal their essence and the drama and tragedy inherent in them.

In "Killer, Women's Hope", Oskar Kokoschka depicts brutal violence. The picture absolutizes the personal beginning. It affirms the inner world of the individual, this work is an apology for the "I".

In E. Kirchner's painting "Five Women in the Street" there is no visual image of the street and the characters appear before us against a conventional background. The depicted women, judging by the clothes, belong to the wealthy stratum of society. However, their faces are dead, and the figures represent alienation.

The expressionist works are not always imbued with grotesque and despair. So, Conrad Felixmuller exalts man in his woodcuts.

Expressionist painting uses dramatically intense, and sometimes gloomy coloring and sharp color dissonances, and the essential in the depicted subject is sharpened, which leads to its specific expressionist deformation.

Arnold Schoenberg proposed a twelve-tone musical system, “... where everything 12 notes that are clearly distinguishable by normal hearing within one octave (a two-fold change in the frequency of vibrations) are equal. Strictly speaking, human hearing distinguishes in an octave 24 frequencies, but combinations of frequencies that differ so little are obviously dissonant, and therefore for music it is necessary to use sounds that are twice as far apart as the distinguishable minimum.

Nurali Latypov, Fundamentals of intellectual training, St. Petersburg, "Piter", 2005, p. 225.

What is the origin of the 12-tone system?

“... during the second half of the 19th century, the music familiar to us gradually became obsolete. Mozart, Beethoven and Schubert the so-called diatonic system, that is, the system of opposition of major and minor. The essence of this system is that 12 sounds that are distinguished by the European ear (the so-called temperamental system), you can only take 7 and build a composition based on them. Seven sounds formed a tonality. For example, the simplest key in C major uses the well-known scale; do, re, mi, fa, salt, la, si. Visually - this key uses only the white keys on the piano. The tonality of C minor differs in that instead of mi, E-flat appears. That is, in the key of C minor, it is no longer possible to use a simple mi, with the exception of the so-called modulations, that is, transitions to a related key that differs from the original by a decrease or increase by half a tone.

Gradually, towards the end of the 19th century, modulations became more and more daring, composers, in the words of Webern, "began to allow themselves too much."

And now the contrast between major and minor gradually began to fade away. It starts at Chopin, is already clearly visible Brahms, music is built on this Gustav Mahler and impressionist composers Debussy, Ravel, Duke. By the beginning of the 20th century, the Novye composers, who experimented with musical form, reached a dead end.

It turned out that you can compose music using all twelve tones: it was chaos - a painful period of atonality. There were two opposite paths out of the musical chaos. The first - the complication of the diatonic system through polytonality - went Stravinsky, Hindemith, Shostakovich […]. The second, hard way was taken by the New Viennese, and this was musical logaedization, that is, the creation of an entire system from a fragment of the old system.

The fact is that by the end of the 19th century, not only the diatonic principle fell into decline, but also the classical Viennese harmony itself, that is, the principle according to which there is a voice leading the melody, but there is an accompaniment. In the history of music, Viennese harmony was preceded by counterpoint, or polyphony, where there was no hierarchy of melody and accompaniment, but several equal voices.

The Novovenets largely returned to the system of strict pre-Bach counterpoint. By abandoning harmony as a principle, they were more easily able to organize music in a new way. Without giving up equality 12 tones (atonality), Schoenberg introduced a rule according to which, when composing a composition in a given and any opus, a sequence of all non-repeating 12 tones (this sequence became known as a series […] , after which it could be repeated and varied according to the laws of counterpoint, that is, to be
1) straight;
2) rakhodnaya, that is, going from end to beginning;
3) inverted, that is, as if inverted relative to the horizontal, and
4) raskohodno-inverted.

The composer had four series in his arsenal. This was, of course, very little. Then a rule was introduced, according to which the series could start from any step, retaining only the original sequence of tones and semitones. Then 4 series, multiplied by 12 temperament tones, gave 48 possibilities. This is the essence of 12-tone music.

Revolutionary in its essence, it was in many ways a return to the principles of pre-baroque music. its basis, firstly, is the equality of all sounds in the Viennese classical diatonic harmony, the major / minor system, the sounds are not equal to each other, but are strictly hierarchical, it is not without reason that harmonic diatonic is a child of classicism, where a strict order prevailed in everything).

Rudnev V.P. , Encyclopedic Dictionary of Culture of the XX century. Key concepts and texts, M., "Agraf", 2009, p. 112-113.