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Twelve -tone lonality
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George Perle
“During the 1930's Perle was among
the first American composers to be at-
tracted by the music and thought of
Schoenberg, Berg, and Webern. His in-
terest, however, was not so much in the
12-tone system itself as in the idea of a
generalized systematic approach to
dodecaphonic composition.
Using some of the fundamental con-
cepts of the 12-tone system, such as
set and inversion, he developed an
approach to composition which at-
tempts to incorporate such 12-tone
ideas with some of the basic kinds of
hierarchical distinctions found in tonal
practice, such as the concept of a ‘key’
as a primary point of reference. His ‘'12-
tone modal system,’ developed contin-
uously from 1939 (and in collaboration
with Paul Lansky from 1969) is, in
simplest terms, an attempt to create
useful distinctions and differentiations
in a 12-tone context by defining func-
tional characteristics of pitch-class
collections (‘chords’) in terms of the
intervals formed by component pairs of
notes, on the one hand, and the
properties of these same pairs with
respect to an axis of symmetry, a pointTwelve-Tone Tonality
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