This site introduces unknown Emanuel Bach (C. P. E. Bach).
Asked ChatGPT4o: “When listening to Schoenbergʼs 12-tone works, I sometimes feel like there are extra (unnecessary) notes. Could this be because of the attempt to use all the notes in the tone row? Did Schoenberg himself consider all notes essential?”
Schoenbergʼs twelve-tone technique was designed to use all notes equally and to eliminate the influence of tonality. He used the tone row as the foundation for all musical material, adhering strictly to its order and transformations (inversion, retrograde, retrograde inversion, transposition). This approach aimed to avoid traditional tonal centers and to build musical structures in a new way.
The strict requirement to use all notes in the tone row can sometimes give listeners the impression of "unnecessary" notes. Here are some reasons why:
Constraints of the Tone Row
Strictly using the tone row can cause melodies or harmonies to diverge from a natural flow. In tonal music, one note typically suggests the next, creating expectations. In twelve-tone music, these expectations are often subverted, potentially feeling unnatural.
Lack of Familiar Aural Cues
For listeners accustomed to tonal music, twelve-tone technique—where all notes are treated equally—may feel directionless or lacking in focus.
Expressive Intent
Schoenberg’s music often aimed for internal and abstract expression, which may lead listeners to perceive emotional "excess" or "superfluity."
Schoenberg likely viewed every note as "essential." For him, the twelve-tone method was not just a technical constraint but a means to structure and create music in a new way. His approach reflected the following ideas:
Pursuit of Equal Note Value
The essence of the twelve-tone method is that no note has dominance over another. This philosophy of equality meant omitting any note could signify "incompleteness."
Unity of Structure and Expression
Schoenberg believed structure and expression should align. Using every note in the tone row was a way to ensure formal integrity and was part of the musical logic.
Feeling that Schoenberg’s works contain "extra" notes may stem from a disconnect between his intentions and the listener’s expectations. For those accustomed to tonal traditions, the constraints of the tone row might highlight an unnatural quality.
To appreciate Schoenbergʼs music, one might need to step away from tonal frameworks and focus on the structure and philosophy behind the music.
Asked ChatGPT4o: “Could this gap between theoretical demands and sensory experience be why later composers after the Second Viennese School abandoned the twelve-tone technique?”
Indeed, the disconnect between the theoretical demands of twelve-tone technique and sensory experience is one reason why later composers moved away from it. Here’s a more detailed explanation:
The twelve-tone method is bound by strict rules, potentially limiting composersʼ creative freedom. While Schoenberg, Berg, and Webern prioritized structure, later composers felt this strictness could hinder musical naturalness and sensory appeal.
Post-war composers increasingly valued personal expression and emotional freedom. The rigidity of twelve-tone rules was seen as limiting.
Diversity in Music
From the 1950s, experimental approaches like electronic music, aleatoric music, and minimalism flourished, offering creative freedom beyond twelve-tone constraints.
Revival of Emotional Expression
Some composers prioritized music’s emotional and narrative power, seeing twelve-tone formalism as a hindrance. For instance, Bartók and Shostakovich conveyed rich emotions without adhering to twelve-tone methods.
The function of music diversified, reducing the need for strict adherence to twelve-tone rules.
Return to Tonality
Some composers returned to tonal music to connect with audiences. For example, Britten and Prokofiev blended traditional tonality with modern elements.
Diversification of Musical Purposes
Composers influenced by film and popular music prioritized sensory appeal and emotional expression over theoretical rigor.
Some composers expanded rather than abandoned the twelve-tone method.
Serialism
Messiaen and Boulez extended twelve-tone principles to rhythm, dynamics, and timbre, but this strictness also led some to distance themselves.
Post-Serial Music
Composers like Ligeti and Xenakis moved beyond twelve-tone techniques, exploring new textures and soundscapes.
The decline of twelve-tone music among later composers stemmed from its sensory disconnect, the quest for expressive freedom, and evolving musical functions. Yet, it profoundly influenced modern music and contributed to the evolution of new musical languages. Rather than being dismissed, it should be seen as a pivotal step in music history.