1249:
347:
841:
91:
1222:
597:
240:
51:
268:
802:
829:
40:
790:
4704:
1350:
4714:
3411:
3220:
128:
4740:
881:
row may be expressed literally on the surface as thematic material, it need not be, and may instead govern the pitch structure of the work in more abstract ways. Even when the technique is applied in the most literal manner, with a piece consisting of a sequence of statements of row forms, these statements may appear consecutively, simultaneously, or may overlap, giving rise to
420:, and others. Oliver Neighbour argues that BartĂłk was "the first composer to use a group of twelve notes consciously for a structural purpose", in 1908 with the third of his fourteen bagatelles. "Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, the
404:" which in addition to expansion may be transformed as with a tone row, and in which individual notes may "function as pivotal elements, to permit overlapping statements of a basic cell or the linking of two or more basic cells". The twelve-tone technique was also preceded by "nondodecaphonic serial composition" used independently in the works of
889:
200:" composers, who were the primary users of the technique in the first decades of its existence. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or actively opposed the technique, such as
440:, an early proponent, says: "To replace one structural force (tonality) by another (increased thematic oneness) is indeed the fundamental idea behind the twelve-tone technique", arguing it arose out of Schoenberg's frustrations with free atonality, providing a "positive premise" for atonality. In Hauer's breakthrough piece
1240:
1373:
is an often monophonic or homophonic technique which, "arranges the pitch classes of an aggregate (or a row) into a rectangular design", in which the vertical columns (harmonies) of the rectangle are derived from the adjacent segments of the row and the horizontal columns (melodies) are not (and thus
880:
Note that rules 1â4 above apply to the construction of the row itself, and not to the interpretation of the row in the composition. (Thus, for example, postulate 2 does not mean, contrary to common belief, that no note in a twelve-tone work can be repeated until all twelve have been sounded.) While a
900:
Durations, dynamics and other aspects of music other than the pitch can be freely chosen by the composer, and there are also no general rules about which tone rows should be used at which time (beyond their all being derived from the prime series, as already explained). However, individual composers
926:
Serial rows can be connected through elision, a term that describes 'the overlapping of two rows that occur in succession, so that one or more notes at the juncture are shared (are played only once to serve both rows)'. When this elision incorporates two or more notes it creates a row chain; when
428:
The distinction often made between Hauer and the
Schoenberg schoolâthat the former's music is based on unordered hexachords while the latter's is based on an ordered seriesâis false: while he did write pieces that could be thought of as "trope pieces", much of Hauer's twelve-tone music employs an
917:
The former, which she views as the 'simplest', is defined as follows: 'rows are set one after the other, with all notes sounding in the order prescribed by this succession of rows, regardless of texture'. The latter is more complex: the musical texture 'is the product of several rows progressing
1498:
In practice, the "rules" of twelve-tone technique have been bent and broken many times, not least by
Schoenberg himself. For instance, in some pieces two or more tone rows may be heard progressing at once, or there may be parts of a composition which are written freely, without recourse to the
871:
In the above example, as is typical, the retrograde inversion contains three points where the sequence of two pitches are identical to the prime row. Thus the generative power of even the most basic transformations is both unpredictable and inevitable. Motivic development can be driven by such
555:", from 1944. In a scene where the mouse, wearing a dog mask, runs across a yard of dogs "in disguise", a chromatic scale represents both the mouse's movements, and the approach of a suspicious dog, mirrored octaves lower. Apart from his work in cartoon scores, Bradley also composed
1241:
287:
913:
Analyst
Kathryn Bailey has used the term 'topography' to describe the particular way in which the notes of a row are disposed in her work on the dodecaphonic music of Webern. She identifies two types of topography in Webern's music: block topography and linear topography.
864:
519:
said in a 1962 interview that while "most of the
Europeans say that they have 'gone beyond' and 'exhausted' the twelve-tone system", in America, "the twelve-tone system has been carefully studied and generalized into an edifice more impressive than any hitherto known."
82:
258:
288:
228:âindependent of Schoenberg's development of the twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be most historically and aesthetically significant.
83:
1320:
is defined as the "properties of a set that are preserved under operation, as well as those relationships between a set and the so-operationally transformed set that inhere in the operation", a definition very close to that of
860:. A simple case is the ascending chromatic scale, the retrograde inversion of which is identical to the prime form, and the retrograde of which is identical to the inversion (thus, only 24 forms of this tone row are available).
259:
1209:
is a side-effect of derived rows where combining different segments or sets such that the pitch class content of the result fulfills certain criteria, usually the combination of hexachords which complete the full chromatic.
855:
of the initial tone row can be used, giving a maximum of 48 possible tone rows. However, not all prime series will yield so many variations because transposed transformations may be identical to each other. This is known as
433:
The "strict ordering" of the Second
Viennese school, on the other hand, "was inevitably tempered by practical considerations: they worked on the basis of an interaction between ordered and unordered pitch collections."
444:, Op. 19 (1919) he used twelve-tone sections to mark out large formal divisions, such as with the opening five statements of the same twelve-tone series, stated in groups of five notes making twelve five-note phrases.
376:
published his "law of the twelve tones" in 1919, requiring that all twelve chromatic notes sound before any note is repeated. The method was used during the next twenty years almost exclusively by the composers of the
119:
1238:
450:
contrasted Hauer's more mathematical concept with
Schoenberg's more musical approach. Schoenberg's idea in developing the technique was for it to "replace those structural differentiations provided formerly by
918:
simultaneously in as many voices' (note that these 'voices' are not necessarily restricted to individual instruments and therefore cut across the musical texture, operating as more of a background structure).
615:
285:
927:
multiple rows are connected by the same elision (typically identified as the same in set-class terms) this creates a row chain cycle, which therefore provides a technique for organising groups of rows.
1306:
formations are also the side effect of derived rows where a segment of a set remains similar or the same under transformation. These may be used as "pivots" between set forms, sometimes used by
955:
tone rows (after taking transformations into account). There are 9,985,920 classes of twelve-tone rows up to equivalence (where two rows are equivalent if one is a transformation of the other).
120:
80:
1231:
1239:
613:
117:
543:
The Twelve-Tone System provides the 'out-of-this-world' progressions so necessary to under-write the fantastic and incredible situations which present-day cartoons contain.
256:
896:
Op. 26 shows the distribution of the pitches of the row among the voices and the balance between the hexachords, 1â6 and 7â12, in the principal voice and accompaniment
614:
286:
1164:
is transforming segments of the full chromatic, fewer than 12 pitch classes, to yield a complete set, most commonly using trichords, tetrachords, and hexachords. A
509:. Some of these composers extended the technique to control aspects other than the pitches of notes (such as duration, method of attack and so on), thus producing
211:
Schoenberg himself described the system as a "Method of composing with twelve tones which are related only with one another". It is commonly considered a form of
2864:
867:
Prime, retrograde, inverted, and retrograde-inverted forms of the ascending chromatic scale. P and RI are the same (to within transposition), as are R and I.
579:. He put the notes into a clock and rearranged them to be used that are side by side or consecutive He called his method "Twelve-Tone in Fragmented Rows."
257:
81:
756:
A particular transformation (prime, inversion, retrograde, retrograde-inversion) together with a choice of transpositional level is referred to as a
278:
3445:
3128:
2422:
2004:. Music in the twentieth century (Digitally printed 1st pbk. version ed.). Cambridge New York: Cambridge University Press. p. 449.
1979:. Music in the twentieth century (Digitally printed 1st pbk. version ed.). Cambridge New York: Cambridge University Press. p. 31.
1932:
725:. (Transposition being an interval-preserving transformation, this is technically covered already by 3.) Transpositions are indicated by an
4129:
3414:
2487:
2068:
1631:
424:". Additionally, John Covach argues that the strict distinction between the two, emphasized by authors including Perle, is overemphasized:
470:
with equal importance, as opposed to earlier classical music which had treated some notes as more important than others (particularly the
4296:
314:
and a source of contrast between, "accumulations of 5ths", and, "generally more complex simultaneity". For example, group A consists of B
991:
The various transformations can be combined. These give rise to a set-complex of forty-eight forms of the set, 12 transpositions of the
118:
3670:
4231:
60:
840:
3872:
3663:
2665:
2657:
2527:
2476:
2306:
2238:
2009:
1984:
1900:
1526:
3438:
721:
The row in any of its four transformations may begin on any degree of the chromatic scale; in other words it may be freely
249:
4038:
3677:
3651:
3121:
2903:
173:
are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of
2253:
46, no. 2, Special Issue: Problems of Modern Music: The
Princeton Seminar in Advanced Musical Studies (April): 246â259.
4044:
3644:
3487:
2354:
306:, tone row feature hexachordal combinatoriality and contains three perfect fifths each, which is the relation between P
3722:
3698:
1476:
801:
303:
3945:
2806:
2798:
2750:
2723:
2709:
2581:
2545:
2513:
2461:
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2341:
2333:
828:
17:
2355:
Felix Khuner: A Violinist's
Journey from Vienna's Kolisch Quartet to the San Francisco Symphony and Opera Orchestras
1518:, rather than the retrograde-inverse, treating the former as the compositionally predominant, "untransposed" form.
789:
1521:
Although usually atonal, twelve tone music need not beâseveral pieces by Berg, for instance, have tonal elements.
1514:, or rotation, where the row is taken in order but using a different starting note. Stravinsky also preferred the
4289:
3431:
2876:
901:
have constructed more detailed systems in which matters such as these are also governed by systematic rules (see
3970:
3905:
2826:
4760:
3266:
3114:
3035:
606:
1560:
Ten features of
Schoenberg's mature twelve-tone practice are characteristic, interdependent, and interactive:
400:
pieces of 1908â1923 which, though "free", often have as an "integrative element ... a minute intervallic
4575:
4074:
3878:
2937:
3704:
1248:
196:(1874â1951) developed his own, better-known version of 12-tone technique, which became associated with the "
3786:
3716:
3578:
3572:
3549:
3543:
3338:
3207:
2980:
2573:
2359:
1875:
1656:
1636:
995:
basic forms: P, R, I, RI. The combination of the retrograde and inversion transformations is known as the
4625:
4314:
3792:
3095:
3064:
2431:
575:
2700:
Covach, John. 2000. "Schoenberg's 'Poetics of Music', the Twelve-tone Method, and the
Musical Idea". In
2028:"Transformation Chains, Associative Areas, and a Principle of Form for Anton Webern's Twelve-tone Music"
4765:
4730:
4707:
4282:
2855:
2860:
218:
Schoenberg's fellow countryman and contemporary Hauer also developed a similar system using unordered
3657:
3563:
3363:
2627:
2600:
893:
729:
between 0 and 11 denoting the number of semitones: thus, if the original form of the row is denoted P
2756:
4198:
3911:
3479:
1322:
1147:
a row and still end up with twelve tones. (Multiplication is in any case not interval-preserving.)
524:
4695:
3884:
2916:
2896:
2768:
2682:
2277:
1641:
1469:
Thus if one's tone row was 0 e 7 4 2 9 3 8 t 1 5 6, one's cross partitions from above would be:
224:
4744:
4717:
4676:
4020:
3810:
3625:
3454:
3343:
3291:
3256:
3047:
3025:
2987:
2869:
1646:
693:
378:
197:
3748:
2520:
Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern
2508:, fourth edition, revised. Berkeley, Los Angeles, and London: University of California Press.
2506:
Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern
2297:
1364:
4193:
4104:
3927:
3710:
3510:
2734:
2387:
2249:
1890:
962:
722:
678:
The row is a specific ordering of all twelve notes of the chromatic scale (without regard to
552:
181:. All 12 notes are thus given more or less equal importance, and the music avoids being in a
2576:
with translations by Leo Black. Berkeley & Los Angeles: University of California Press.
4770:
4119:
4094:
4049:
3959:
3860:
3756:
3286:
3251:
2820:
2456:. Utrecht: Oosthoek, 1964. Third impression, Utrecht: Bohn, Scheltema & Holkema, 1977.
2363:
1618:
1503:
the full chromatic is used and constantly circulates, but permutational devices are ignored
1355:
1189:
997:
812:
710:
373:
346:
189:
101:
31:
8:
4560:
4263:
4188:
4153:
4099:
3986:
3963:
3939:
3921:
3681:
3553:
3533:
3368:
3228:
2837:
2745:, edited by GĂŒnther Friesinger, Helmut Neumann and Dominik Ć edivĂœ. Vienna: edition mono.
974:
852:
166:
4204:
2027:
4555:
4483:
4210:
4183:
4136:
3977:
3388:
3320:
3241:
3160:
3041:
2889:
2773:
2687:
2632:
2605:
2400:
2328:, revised third edition. Music in American Life. Urbana: University of Illinois Press.
2314:
2282:
2262:
2097:
1515:
1511:
1487:
704:
502:
494:
405:
3528:
3106:
2444:, translated from the Dutch by Stephen Taylor. Amsterdam: Amsterdam University Press.
547:
An example of Bradley's use of the technique to convey building tension occurs in the
4713:
4468:
4353:
4305:
4253:
4243:
4215:
4054:
3866:
3829:
3462:
3373:
3301:
3246:
2932:
2802:
2794:
2746:
2743:
Serial Composition and Tonality. An Introduction to the Music of Hauer and Steinbauer
2719:
2705:
2661:
2653:
2577:
2565:
2541:
2523:
2509:
2472:
2457:
2445:
2375:
2337:
2329:
2302:
2234:
2101:
2089:
2048:
2005:
1980:
1919:
1896:
1773:
1567:
1540:
1535:
1531:
1311:
983:
698:
656:
390:
369:
193:
4168:
2385:
Hill, Richard S. 1936. "Schoenberg's Tone-Rows and the Tonal System of the Future".
888:
4681:
4650:
4615:
4570:
4565:
4478:
4458:
4448:
4413:
4408:
4124:
4089:
4084:
4079:
3990:
3934:
3608:
3557:
3537:
3313:
3202:
3155:
3030:
2952:
2786:
2538:
Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music
2492:
2482:
2392:
2254:
2233:. Eastman Studies in Music 76. Rochester, New York: University of Rochester Press.
2081:
2040:
1575:
1570:
1545:
1334:
1206:
1201:
1173:
809:
689:
516:
413:
4423:
4403:
3769:
1499:
twelve-tone technique at all. Offshoots or variations may produce music in which:
1072:
thus, each cell in the following table lists the result of the transformations, a
389:, and Schoenberg himself. Although, another important composer in this period was
90:
4590:
4488:
4438:
4148:
4064:
4006:
3503:
3358:
3353:
3190:
2947:
2843:
2645:
2559:
1349:
848:
652:
567:
506:
467:
409:
205:
170:
3495:
2718:, edited by Thomas Christensen, 603â627. Cambridge: Cambridge University Press.
764:. Every row thus has up to 48 different row forms. (Some rows have fewer due to
4640:
4600:
4585:
4514:
4509:
4418:
4368:
4225:
4114:
3982:
3854:
3764:
3276:
3175:
3057:
2997:
2372:
Schoenberg's Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914â1928
2244:
1651:
1377:
For example, the layout of all possible 'even' cross partitions is as follows:
529:
482:
481:
The technique became widely used by the fifties, taken up by composers such as
2881:
2849:
539:, utilized the 12-tone technique in his work. Bradley described his use thus:
267:
4754:
4620:
4348:
4178:
4158:
4109:
4002:
3915:
3617:
3601:
3398:
3281:
3079:
2618:
2454:
Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur
2427:
2321:
2093:
2085:
2052:
1777:
1612:
1601:
1330:
571:
563:
490:
486:
475:
471:
201:
4378:
2258:
39:
4655:
4610:
4524:
4519:
4398:
4388:
4358:
4343:
4258:
4237:
4220:
4163:
4143:
3997:
3845:
3596:
3306:
3074:
3052:
3015:
2942:
2729:
2533:
2501:
2496:
2437:
2417:
2396:
2349:
1326:
1307:
958:
Appearances of P can be transformed from the original in three basic ways:
622:
510:
498:
447:
437:
417:
401:
386:
2652:. Cambridge Introductions to Music. New York: Cambridge University Press.
1609:, "consistent with and derived from the properties of the referential set"
4595:
4580:
4173:
4059:
3423:
3378:
3185:
3165:
2704:, edited by Russell A. Berman and Charlotte M. Cross, New York: Garland.
2551:
2413:
2044:
1587:
1581:
1338:
1329:
describes their use as "pivots" or non-tonal ways of emphasizing certain
1181:
1165:
1156:
944:
820:
816:
659:
372:
in 1921 and first described privately to his associates in 1923, in fact
182:
178:
951:(479,001,600) tone rows, although this is far higher than the number of
666:
or preconditions to the technique which apply to the row (also called a
4645:
4635:
4605:
4338:
3895:
3393:
3296:
3069:
3020:
2275:
Babbitt, Milton. 1961. "Set Structure as a Compositional Determinant".
1933:"Blotted Science's Ron Jarzombek: The Twelve-tone Metalsucks Interview"
1915:
1483:
1295:
1177:
1073:
663:
637:
535:
382:
360:
141:
2777:
2691:
2636:
2609:
2404:
2286:
2266:
1761:
4630:
4550:
4433:
4069:
3740:
3348:
3170:
3141:
2992:
2912:
2442:
Music of the Twentieth Century: A Study of Its Elements and Structure
1564:
948:
902:
847:
P, R, I and RI can each be started on any of the twelve notes of the
626:
556:
459:
397:
219:
212:
2522:, sixth edition, revised. Berkeley: University of California Press.
4013:
3383:
3197:
2975:
1169:
765:
647:
588:
513:. Some even subjected all elements of music to the serial process.
463:
452:
421:
174:
4274:
2832:
2002:
The twelve-note music of Anton Webern: old forms in a new language
1977:
The twelve-note music of Anton Webern: old forms in a new language
368:
Though most sources will say it was invented by Austrian composer
3952:
2680:
Covach, John. 1992. "The Zwölftonspiel of Josef Matthias Hauer".
1846:
1606:
1544:, satirizes the method by using it for a song about boredom, and
882:
726:
455:
2247:. 1960. "Twelve-Tone Invariants as Compositional Determinants".
1188:, uses methods to create segments from sets, most often through
1168:
can be generated by choosing appropriate transformations of any
835:
And the retrograde inversion is the inverted row in retrograde:
192:, who published his "law of the twelve tones" in 1919. In 1923,
169:. The technique is a means of ensuring that all 12 notes of the
3219:
679:
2833:
Javascript twelve tone matrix calculator and tone row analyzer
2562:. New York: The Macmillan Company. (Original German ed., 1952)
127:
2374:. Oxford Clarendon Press; New York: Oxford University Press
737:
denotes its transposition upward by one semitone (similarly I
1506:
permutational devices are used but not on the full chromatic
1353:
Aggregates spanning several local set forms in Schoenberg's
981:
turning each interval direction to its opposite, giving the
935:
The tone row chosen as the basis of the piece is called the
1270:âDâF) contains the same pitches as the first hexachord of I
863:
2471:, Vol. 1. Cambridge, Massachusetts and London: MIT Press.
1463:
of the 3 cross partition, and one variation of that, are:
2556:
Composition with Twelve Notes Related Only to One Another
819:
becomes a falling minor third, or equivalently, a rising
2766:
Starr, Daniel. 1978. "Sets, Invariance and Partitions".
1615:, established through "pitch-relational characteristics"
1548:
used a twelve-tone rowâa "tema seriale con fuga"âin his
796:
Then the retrograde is the prime form in reverse order:
3136:
2732:. 1953. "Is the Twelve-Tone Technique on the Decline?"
2598:
Solomon, Larry. 1973. "New Symmetric Transformations".
1143:
However, there are only a few numbers by which one may
393:
who wrote more than 50 pieces using the serial method.
2301:. Cambridge and New York: Cambridge University Press.
1711:
1709:
1510:
Also, some composers, including Stravinsky, have used
4728:
2593:
245â249 "Composition with Twelve Tones (2) (c. 1948)"
625:, an example of the twelve-tone technique, a type of
188:
The technique was first devised by Austrian composer
651:, an ordered arrangement of the twelve notes of the
621:
Sample of "Sehr langsam" from String Trio Op. 20 by
43:
Arnold Schoenberg, inventor of twelve-tone technique
2757:
Archival Exhibit: Schoenberg's Dodecaphonic Devices
2420:and Dave Headlam. 2001. "Twelve-note Composition".
2347:
1852:
1706:
527:, best known for his musical scores for works like
396:The twelve tone technique was preceded by "freely"
2590:214â245 "Composition with Twelve Tones (1) (1941)"
2469:Musimathics: The Mathematical Foundations of Music
2067:
2026:
1524:One of the best known twelve-note compositions is
741:is an upward transposition of the inverted form, R
326:while the, "more blended", group B consists of AâC
61:Josef Matthias Hauer's "athematic" dodecaphony in
2326:America's Music: From the Pilgrims to the Present
1892:Tunes for 'Toons: Music and the Hollywood Cartoon
1798:
1796:
1687:
1685:
784:Suppose the prime form of the row is as follows:
4752:
1472:0 4 3 1 0 9 3 6 e 2 8 5 7 4 8 5 7 9 t 6 e 2 t 1
1466:0 3 6 9 0 5 6 e 1 4 7 t 2 3 7 t 2 5 8 e 1 4 8 9
930:
753:(In Hauer's system postulate 3 does not apply.)
104:
2911:
2423:The New Grove Dictionary of Music and Musicians
1699:
1697:
1555:
1176:. A derived set can also be generated from any
972:reversing the order of the pitches, giving the
921:
2823:to find all combinations of a 12 tone sequence
2485:. 1954. "The Evolution of Twelve-Note Music".
1830:
1828:
1826:
1793:
1682:
645:The basis of the twelve-tone technique is the
559:that were performed in concert in California.
4290:
3439:
3122:
2897:
2716:The Cambridge History of Western Music Theory
2714:Covach, John. 2002, "Twelve-tone Theory". In
2176:
2174:
1459:One possible realization out of many for the
1254:Hexachord invariance. The last hexachord of P
875:
4134:
4130:International Society for Contemporary Music
3415:List of dodecaphonic and serial compositions
2488:Proceedings of the Royal Musical Association
1694:
1632:List of dodecaphonic and serial compositions
2827:New Transformations: Beyond P, I, R, and RI
2231:The Twelve-Tone Music of Luigi Dallapiccola
1823:
4297:
4283:
3453:
3446:
3432:
3410:
3129:
3115:
2904:
2890:
2801:. Reprinted 1991, New York: C. F. Peters.
2761:Journal of the Arnold Schoenberg Institute
2540:. Westport, Connecticut: Greenwood Press.
2171:
1475:Cross partitions are used in Schoenberg's
1184:, between any two elements. The opposite,
3671:Begleitungsmusik zu einer Lichtspielscene
2702:Schoenberg and Words: The Modernist Years
1876:"Tralfaz: Cartoon Composer Scott Bradley"
808:The inversion is the prime form with the
458:". As such, twelve-tone music is usually
4232:Society for Private Musical Performances
3725:, Op. 33a (1928-1929) and Op. 33b (1931)
2861:Dodecaphonic Knots and Topology of Words
2844:Twelve-Tone Technique, A Quick Reference
2587:207â208 "Twelve-Tone Composition (1923)"
1895:. Univ of California Press. p. 71.
1888:
1820:John Covach quoted in Whittall 2008, 24.
1490:used them more than any other composer.
1348:
887:
862:
674:), on which a work or section is based:
566:used a twelve-tone system for composing
208:, eventually adopted it in their music.
38:
2650:The Cambridge Introduction to Serialism
2065:
2024:
1930:
1365:Derived row § Partition and mosaic
714:(RI), in addition to its "original" or
14:
4753:
1999:
1974:
1180:that excludes the interval class 4, a
892:Schoenberg's annotated opening of his
279:Schoenberg's Piano Piece, Op. 33a
4278:
3427:
3110:
2885:
2851:Twelve Tones by mathemusician Vi Hart
2838:Matrix generator from musictheory.net
2366:. Berkeley: University of California.
2318:ed. L. Macy (Accessed 8 January 2007)
2210:
947:of the chromatic scale, there are 12
939:(P). Untransposed, it is notated as P
4023:(1935, rev. ed. Douglas Jarman 1996)
3236:
2604:11, no. 2 (SpringâSummer): 257â264.
2312:Brett, Philip. "Britten, Benjamin."
1873:
1837:
1552:(1959) as an emblem of academicism.
1550:Cantata Academica: Carmen Basiliense
250:Schoenberg's Op. 23, mov. 5, mm. 1â4
4304:
3552:, Op. 10 (1907-1908, 1919 and 1929
3550:String Quartet No. 2 (with soprano)
2631:3, no. 2 (SpringâSummer): 104â126.
2025:Moseley, Brian (1 September 2019).
1195:
685:No note is repeated within the row.
24:
3680:, Op. 38 (1906â1940) and Op. 38b (
3532:, Op. 4 (1899, 1916-1917 and 1943
2673:
1924:
1344:
1247:
1220:
595:
359:Problems playing these files? See
345:
266:
238:
140:Problems playing these files? See
126:
89:
49:
25:
4782:
4039:Arnold Schönberg Complete Edition
2814:
1931:Mustein, Dave (2 November 2011).
1076:, in its row and column headers:
749:of the retrograde-inverted form).
505:, and, after Schoenberg's death,
231:
4738:
4712:
4703:
4702:
3409:
3218:
2877:Database on tone rows and tropes
1294:Problems playing this file? See
1236:
1232:Schoenberg's Concerto for Violin
839:
827:
800:
788:
636:Problems playing this file? See
611:
283:
254:
115:
78:
67:
3180:
2621:. 1965. "Notes on Stravinsky's
2201:
2192:
2183:
2162:
2153:
2144:
2135:
2126:
2117:
2108:
2069:"Cycles in Webern's Late Music"
2059:
2018:
1993:
1968:
1959:
1950:
1909:
1882:
1867:
1858:
1814:
1805:
1784:
1595:
4576:Modes of limited transposition
3948:, Op. 6 (1913-1915, rev. 1929)
3924:, Op. 1 (1907-1908, rev. 1920)
3648:, Op. 5 (1902-1903, rev. 1920)
3036:Emancipation of the dissonance
2763:12, no. 2 (November): 202â205.
2298:Music: A Mathematical Offering
1754:
1745:
1736:
1727:
1718:
1673:
1374:may contain non-adjacencies).
745:of the retrograde form, and RI
13:
1:
3873:Concerto for Nine Instruments
3488:Das Buch der hÀngenden GÀrten
2938:Mode of limited transposition
2491:, volume 81, issue 1: 49â61.
1662:
1213:
1150:
931:Properties of transformations
908:
32:twelve-tone equal temperament
3971:SchlieĂe mir die Augen beide
3906:SchlieĂe mir die Augen beide
3339:All-interval twelve-tone row
2738:39, no 4 (October): 513â527.
2686:36, no. 1 (Spring): 149â84.
2426:, second edition, edited by
2391:22, no. 1 (January): 14â37.
2360:Regional Oral History Office
1657:List of tone rows and series
1637:All-interval twelve-tone row
1556:Schoenberg's mature practice
922:Elisions, Chains, and Cycles
688:The row may be subjected to
462:, and treats each of the 12
7:
4626:Quartal and quintal harmony
4315:List of modernist composers
3096:List of atonal compositions
3065:Quartal and quintal harmony
1625:
696:âthat is, it may appear in
582:
576:The Animation of Entomology
10:
4787:
3705:Sechs kleine KlavierstĂŒcke
3660:, Op. 16 (1909, rev. 1922)
2772:22, no. 1 (Spring): 1â42.
2358:, intro. by Tom Heimberg.
2281:5, no. 1 (Spring): 72â94.
2222:
1362:
1333:. Invariant rows are also
1199:
1154:
876:Application in composition
779:
586:
29:
27:Musical composition method
4690:
4669:
4539:
4499:
4328:
4321:
4312:
4030:
3930:, Op. 3 (1910, rev. 1924)
3894:
3844:
3821:
3802:
3779:
3732:
3691:
3636:
3588:
3569:Suite, Op. 29 (1925â1926)
3520:
3471:
3461:
3407:
3331:
3265:
3227:
3216:
3148:
3088:
3006:
2961:
2923:
2628:Perspectives of New Music
2601:Perspectives of New Music
1889:Goldmark, Daniel (2007).
304:Piano Piece, Op. 33a
161:, and (in British usage)
102:Example of Hauer's tropes
3973:" (second setting, 1925)
3962:(1923-1935; ii "Adagio"
3664:Variations for orchestra
2086:10.1215/00222909-7127658
2000:Bailey, Kathryn (2006).
1975:Bailey, Kathryn (2006).
1853:Crawford and Khuner 1996
1667:
1527:Variations for Orchestra
1493:
265:The "first 12-note work"
30:Not to be confused with
3946:Three Orchestral Pieces
3938:, Op. 4 (1911-1912, iv
3908:" (first setting, 1907)
2781:(subscription required)
2769:Journal of Music Theory
2755:Sloan, Susan L. 1989. "
2741:Ć edivĂœ, Dominik. 2011.
2695:(subscription required)
2683:Journal of Music Theory
2640:(subscription required)
2613:(subscription required)
2408:(subscription required)
2348:Crawford, Caroline and
2290:(subscription required)
2278:Journal of Music Theory
2270:(subscription required)
2074:Journal of Music Theory
2066:Moseley, Brian (2018).
1874:Yowp (7 January 2017).
1772:(1684): 378â378. 1983.
1642:All-interval tetrachord
1592:Isomorphic partitioning
1323:mathematical invariance
163:twelve-note composition
4677:Second Viennese School
4670:Schools of composition
4135:
3814:(1910-1911, rev. 1921)
3678:Chamber Symphony No. 2
3652:Chamber Symphony No. 1
3626:A Survivor from Warsaw
3612:(1914â1922, rev. 1944)
3455:Second Viennese School
3344:All-trichord hexachord
3292:Second Viennese School
3048:Polymodal chromaticism
3026:Dissonant counterpoint
2988:Second Viennese School
2467:Loy, D. Gareth, 2007.
2229:Alegant, Brian. 2010.
2150:Babbitt 1960, 249â250.
1647:All-trichord hexachord
1360:
1252:
1225:
897:
872:internal consistency.
868:
768:; see the sections on
600:
545:
431:
379:Second Viennese School
350:
294:The principal forms, P
271:
243:
198:Second Viennese School
177:, orderings of the 12
131:
94:
54:
44:
4761:Twelve-tone technique
4661:Twelve-tone technique
4249:Twelve-tone technique
4194:Musical fragmentation
4105:Fragmentation (music)
3645:Pelleas und Melisande
3138:Twelve-tone technique
2971:Twelve-tone technique
2793:. New York: Longman.
2735:The Musical Quarterly
2518:Perle, George. 1991.
2388:The Musical Quarterly
2259:10.1093/mq/XLVI.2.246
2250:The Musical Quarterly
2189:Alegant 2010, 22, 24.
2033:Music Theory Spectrum
1751:Schoenberg 1975, 213.
1715:Schoenberg 1975, 218.
1352:
1251:
1224:
891:
866:
599:
541:
426:
349:
270:
242:
159:twelve-tone serialism
151:twelve-tone technique
130:
93:
53:
42:
4120:Josef Matthias Hauer
4095:Developing variation
3966:for cl, vl, pf 1935)
3881:, Op. 27 (1935-1936)
3879:Variations for piano
3875:, Op. 24 (1931-1934)
3869:, Op. 21 (1927-1928)
3789:, Op. 36 (1934-1936)
3760:, Op. 32 (1928-1929)
3757:Von heute auf morgen
3752:, Op. 18 (1910-1913)
3719:, Op. 25 (1921-1923)
3713:, Op. 23 (1920-1923)
3674:, Op. 34 (1929-1930)
3666:, Op. 31 (1926-1928)
3658:FĂŒnf OrchesterstĂŒcke
3579:String Quartet No. 4
3573:String Quartet No. 3
3566:, Op. 26 (1923-1924)
3544:String Quartet No. 1
3513:, Op. 22 (1913-1916)
3491:, Op. 15 (1907-1909)
3287:Josef Matthias Hauer
3252:Retrograde inversion
2497:10.1093/jrma/81.1.49
2434:. London: Macmillan.
2397:10.1093/mq/XXII.1.14
2370:Haimo, Ethan. 1990.
2364:The Bancroft Library
1742:Leeuw 2005, 155â157.
1356:Von heute auf morgen
1190:registral difference
998:retrograde inversion
965:up or down, giving P
711:retrograde-inversion
374:Josef Matthias Hauer
190:Josef Matthias Hauer
4264:Alexander Zemlinsky
4189:Jacques-Louis Monod
4100:Expressionist music
3956:, Op. 7 (1914-1922)
3749:Die glĂŒckliche Hand
3684:for 2pf, 1941-1942)
3546:, Op. 7 (1904-1905)
3483:, Op. 2 (1899-1900)
3369:Formula composition
2865:Franck Jedrzejewski
2295:Benson, Dave. 2007
1811:Neighbour 1955, 53.
1762:"Elisabeth Lutyens"
943:. Given the twelve
167:musical composition
4211:Musical set theory
4184:Riccardo Malipiero
4137:Klangfarbenmelodie
3887:, Op. 28 (1937â38)
3711:FĂŒnf KlavierstĂŒcke
3699:Drei KlavierstĂŒcke
3600:, Op. (1900-1903,
3042:Klangfarbenmelodie
2821:Twelve tone square
2791:Simple Composition
2566:Schoenberg, Arnold
2315:Grove Music Online
2141:Perle 1977, 91â93.
2045:10.1093/mts/mtz010
1965:Whittall 2008, 52.
1834:Whittall 2008, 24.
1724:Whittall 2008, 25.
1679:Whittall 2008, 26.
1621:set presentations.
1516:inverse-retrograde
1512:cyclic permutation
1361:
1253:
1226:
1172:except 0,3,6, the
898:
869:
851:, meaning that 47
815:(so that a rising
662:). There are four
601:
553:Puttin' on the Dog
523:American composer
503:Riccardo Malipiero
495:Luigi Dallapiccola
406:Alexander Scriabin
351:
302:, of Schoenberg's
272:
244:
132:
95:
55:
45:
4766:Arnold Schoenberg
4726:
4725:
4535:
4534:
4272:
4271:
4254:Viennese trichord
4244:Eduard Steuermann
4216:Hermann Scherchen
4055:Theodor W. Adorno
3912:Seven Early Songs
3840:
3839:
3830:Der biblische Weg
3768:(1930â32, compl.
3717:Suite fĂŒr Klavier
3463:Arnold Schoenberg
3421:
3420:
3374:Modernism (music)
3302:Arnold Schoenberg
3104:
3103:
2933:Equal temperament
2787:Wuorinen, Charles
2666:978-0-521-68200-8
2658:978-0-521-86341-4
2623:Abraham and Isaac
2528:978-0-520-07430-9
2483:Neighbour, Oliver
2477:978-0-262-12282-5
2452:. Translation of
2307:978-0-521-85387-3
2239:978-1-58046-325-6
2180:Alegant 2010, 21.
2168:Alegant 2010, 20.
2123:Benson 2007, 348.
2011:978-0-521-39088-0
1986:978-0-521-39088-0
1902:978-0-520-25311-7
1790:Perle 1977, 9â10.
1766:The Musical Times
1536:Leonard Bernstein
1532:Arnold Schoenberg
1455:
1454:
1312:Arnold Schoenberg
1242:
1139:
1138:
1068:
1067:
616:
391:Elisabeth Lutyens
370:Arnold Schoenberg
289:
260:
194:Arnold Schoenberg
121:
84:
18:Invariant (music)
16:(Redirected from
4778:
4743:
4742:
4741:
4734:
4716:
4706:
4705:
4682:Darmstadt School
4616:Post-romanticism
4326:
4325:
4299:
4292:
4285:
4276:
4275:
4205:Schönberg Family
4140:
4125:Ruzena Herlinger
4090:David Josef Bach
4085:Darmstadt School
4080:Ferruccio Busoni
4031:Related articles
3935:Altenberg Lieder
3609:Die Jakobsleiter
3469:
3468:
3448:
3441:
3434:
3425:
3424:
3413:
3412:
3332:Related articles
3314:Charles Wuorinen
3222:
3156:Combinatoriality
3131:
3124:
3117:
3108:
3107:
3031:Dynamic tonality
2953:Whole tone scale
2906:
2899:
2892:
2883:
2882:
2873:
2852:
2829:by Larry Solomon
2782:
2696:
2646:Whittall, Arnold
2641:
2614:
2558:, translated by
2409:
2367:
2291:
2271:
2217:
2214:
2208:
2205:
2199:
2198:Spies 1965, 118.
2196:
2190:
2187:
2181:
2178:
2169:
2166:
2160:
2157:
2151:
2148:
2142:
2139:
2133:
2130:
2124:
2121:
2115:
2112:
2106:
2105:
2071:
2063:
2057:
2056:
2030:
2022:
2016:
2015:
1997:
1991:
1990:
1972:
1966:
1963:
1957:
1954:
1948:
1947:
1945:
1943:
1928:
1922:
1913:
1907:
1906:
1886:
1880:
1879:
1871:
1865:
1864:Chase 1987, 587.
1862:
1856:
1850:
1844:
1841:
1835:
1832:
1821:
1818:
1812:
1809:
1803:
1800:
1791:
1788:
1782:
1781:
1758:
1752:
1749:
1743:
1740:
1734:
1733:Leeuw 2005, 149.
1731:
1725:
1722:
1716:
1713:
1704:
1701:
1692:
1691:Perle 1991, 145.
1689:
1680:
1677:
1619:Multidimensional
1571:combinatoriality
1546:Benjamin Britten
1382:
1381:
1285:
1284:
1279:
1278:
1269:
1268:
1263:
1262:
1244:
1243:
1223:
1207:Combinatoriality
1202:Combinatoriality
1196:Combinatoriality
1174:diminished triad
1081:
1080:
1010:
1009:
843:
831:
804:
792:
618:
617:
598:
517:Charles Wuorinen
343:
342:
337:
336:
331:
330:
325:
324:
319:
318:
291:
290:
262:
261:
241:
165:âis a method of
123:
122:
111:
107:
86:
85:
74:
70:
52:
21:
4786:
4785:
4781:
4780:
4779:
4777:
4776:
4775:
4751:
4750:
4749:
4745:Classical music
4739:
4737:
4729:
4727:
4722:
4699:
4686:
4665:
4591:New Objectivity
4544:
4542:
4531:
4495:
4317:
4308:
4306:Modernist music
4303:
4273:
4268:
4199:Max Oppenheimer
4149:Oskar Kokoschka
4065:Peter Altenberg
4026:
4021:Violin Concerto
3981:(1925-1926 for
3890:
3836:
3817:
3798:
3795:, Op. 42 (1942)
3787:Violin Concerto
3775:
3744:, Op. 17 (1909)
3728:
3707:, Op. 19 (1911)
3701:, Op. 11 (1909)
3687:
3632:
3629:, Op. 46 (1947)
3584:
3581:, Op. 37 (1936)
3575:, Op. 30 (1927)
3529:VerklÀrte Nacht
3516:
3507:, Op. 21 (1912)
3504:Pierrot lunaire
3499:, Op. 20 (1911)
3457:
3452:
3422:
3417:
3403:
3359:Duration series
3354:Chromatic scale
3327:
3268:
3261:
3223:
3214:
3191:Cross partition
3161:Complementation
3144:
3135:
3105:
3100:
3084:
3008:
3002:
2963:
2957:
2948:Octatonic scale
2925:
2919:
2910:
2867:
2850:
2817:
2812:
2780:
2694:
2676:
2674:Further reading
2671:
2639:
2612:
2560:Humphrey Searle
2407:
2289:
2269:
2245:Babbitt, Milton
2225:
2220:
2216:Haimo 1990, 41.
2215:
2211:
2206:
2202:
2197:
2193:
2188:
2184:
2179:
2172:
2167:
2163:
2159:Haimo 1990, 13.
2158:
2154:
2149:
2145:
2140:
2136:
2132:Haimo 1990, 27.
2131:
2127:
2122:
2118:
2113:
2109:
2064:
2060:
2023:
2019:
2012:
1998:
1994:
1987:
1973:
1969:
1964:
1960:
1955:
1951:
1941:
1939:
1929:
1925:
1914:
1910:
1903:
1887:
1883:
1872:
1868:
1863:
1859:
1851:
1847:
1842:
1838:
1833:
1824:
1819:
1815:
1810:
1806:
1802:Perle 1977, 37.
1801:
1794:
1789:
1785:
1760:
1759:
1755:
1750:
1746:
1741:
1737:
1732:
1728:
1723:
1719:
1714:
1707:
1702:
1695:
1690:
1683:
1678:
1674:
1670:
1665:
1628:
1558:
1496:
1473:
1467:
1371:cross partition
1367:
1347:
1345:Cross partition
1301:
1300:
1292:
1290:
1289:
1288:
1287:
1282:
1281:
1276:
1275:
1273:
1266:
1265:
1260:
1259:
1257:
1245:
1237:
1234:
1227:
1221:
1216:
1204:
1198:
1159:
1153:
968:
942:
933:
924:
911:
878:
849:chromatic scale
782:
748:
744:
740:
736:
732:
694:transformations
653:chromatic scale
643:
642:
634:
632:
631:
630:
629:
619:
612:
609:
602:
596:
591:
585:
568:Blotted Science
562:Rock guitarist
549:Tom & Jerry
530:Tom & Jerry
507:Igor Stravinsky
468:chromatic scale
429:ordered series.
410:Igor Stravinsky
366:
365:
357:
355:
354:
353:
352:
340:
339:
334:
333:
328:
327:
322:
321:
316:
315:
313:
309:
301:
297:
292:
284:
281:
275:
274:
273:
263:
255:
252:
245:
239:
234:
206:Igor Stravinsky
171:chromatic scale
153:âalso known as
147:
146:
138:
136:
135:
134:
133:
124:
116:
113:
109:
105:
98:
97:
96:
87:
79:
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72:
68:
56:
50:
35:
28:
23:
22:
15:
12:
11:
5:
4784:
4774:
4773:
4768:
4763:
4748:
4747:
4724:
4723:
4721:
4720:
4710:
4696:Romantic music
4692:
4691:
4688:
4687:
4685:
4684:
4679:
4673:
4671:
4667:
4666:
4664:
4663:
4658:
4653:
4648:
4643:
4638:
4633:
4628:
4623:
4618:
4613:
4608:
4603:
4601:Pandiatonicism
4598:
4593:
4588:
4586:New Complexity
4583:
4578:
4573:
4568:
4563:
4558:
4553:
4547:
4545:
4540:
4537:
4536:
4533:
4532:
4530:
4529:
4528:
4527:
4522:
4517:
4512:
4506:United States
4503:
4501:
4497:
4496:
4494:
4493:
4492:
4491:
4486:
4481:
4473:
4472:
4471:
4463:
4462:
4461:
4453:
4452:
4451:
4443:
4442:
4441:
4436:
4428:
4427:
4426:
4421:
4416:
4411:
4406:
4401:
4393:
4392:
4391:
4383:
4382:
4381:
4373:
4372:
4371:
4363:
4362:
4361:
4356:
4351:
4346:
4341:
4332:
4330:
4323:
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4313:
4310:
4309:
4302:
4301:
4294:
4287:
4279:
4270:
4269:
4267:
4266:
4261:
4256:
4251:
4246:
4241:
4234:
4229:
4226:Skandalkonzert
4223:
4218:
4213:
4208:
4201:
4196:
4191:
4186:
4181:
4176:
4171:
4169:René Leibowitz
4166:
4161:
4156:
4151:
4146:
4141:
4132:
4127:
4122:
4117:
4115:Richard Gerstl
4112:
4107:
4102:
4097:
4092:
4087:
4082:
4077:
4072:
4067:
4062:
4057:
4052:
4047:
4042:
4034:
4032:
4028:
4027:
4025:
4024:
4018:
4010:
3994:
3983:string quartet
3974:
3967:
3957:
3949:
3943:
3931:
3928:String Quartet
3925:
3919:
3909:
3901:
3899:
3892:
3891:
3889:
3888:
3885:String Quartet
3882:
3876:
3870:
3864:
3863:, Op. 1 (1908)
3858:
3855:Langsamer Satz
3851:
3849:
3842:
3841:
3838:
3837:
3835:
3834:
3825:
3823:
3819:
3818:
3816:
3815:
3806:
3804:
3800:
3799:
3797:
3796:
3793:Piano Concerto
3790:
3783:
3781:
3777:
3776:
3774:
3773:
3765:Moses und Aron
3761:
3753:
3745:
3736:
3734:
3730:
3729:
3727:
3726:
3720:
3714:
3708:
3702:
3695:
3693:
3689:
3688:
3686:
3685:
3675:
3667:
3661:
3655:
3654:, Op. 9 (1906)
3649:
3640:
3638:
3634:
3633:
3631:
3630:
3622:
3613:
3605:
3592:
3590:
3586:
3585:
3583:
3582:
3576:
3570:
3567:
3561:
3547:
3541:
3524:
3522:
3518:
3517:
3515:
3514:
3508:
3500:
3492:
3484:
3475:
3473:
3466:
3459:
3458:
3451:
3450:
3443:
3436:
3428:
3419:
3418:
3408:
3405:
3404:
3402:
3401:
3396:
3391:
3386:
3381:
3376:
3371:
3366:
3361:
3356:
3351:
3346:
3341:
3335:
3333:
3329:
3328:
3326:
3325:
3316:
3311:
3310:
3309:
3304:
3299:
3289:
3284:
3279:
3277:Milton Babbitt
3273:
3271:
3263:
3262:
3260:
3259:
3257:Multiplication
3254:
3249:
3244:
3239:
3233:
3231:
3225:
3224:
3217:
3215:
3213:
3212:
3211:
3210:
3205:
3195:
3194:
3193:
3183:
3178:
3176:Interval class
3173:
3168:
3163:
3158:
3152:
3150:
3146:
3145:
3134:
3133:
3126:
3119:
3111:
3102:
3101:
3099:
3098:
3092:
3090:
3086:
3085:
3083:
3082:
3077:
3072:
3067:
3062:
3061:
3060:
3058:Distance model
3050:
3045:
3038:
3033:
3028:
3023:
3018:
3012:
3010:
3004:
3003:
3001:
3000:
2998:Spectral music
2995:
2990:
2985:
2984:
2983:
2978:
2967:
2965:
2959:
2958:
2956:
2955:
2950:
2945:
2940:
2935:
2929:
2927:
2921:
2920:
2909:
2908:
2901:
2894:
2886:
2880:
2879:
2874:
2858:
2847:
2841:
2840:by Ricci Adams
2835:
2830:
2824:
2816:
2815:External links
2813:
2811:
2810:
2784:
2764:
2753:
2739:
2727:
2712:
2698:
2677:
2675:
2672:
2670:
2669:
2643:
2619:Spies, Claudio
2616:
2596:
2595:
2594:
2591:
2588:
2570:Style and Idea
2563:
2549:
2531:
2516:
2499:
2480:
2465:
2435:
2411:
2383:
2368:
2345:
2322:Chase, Gilbert
2319:
2310:
2293:
2273:
2242:
2226:
2224:
2221:
2219:
2218:
2209:
2200:
2191:
2182:
2170:
2161:
2152:
2143:
2134:
2125:
2116:
2114:Loy 2007, 310.
2107:
2080:(2): 165â204.
2058:
2039:(2): 218â243.
2017:
2010:
1992:
1985:
1967:
1958:
1956:Perle 1977, 3.
1949:
1923:
1908:
1901:
1881:
1866:
1857:
1845:
1836:
1822:
1813:
1804:
1792:
1783:
1753:
1744:
1735:
1726:
1717:
1705:
1703:Perle 1977, 2.
1693:
1681:
1671:
1669:
1666:
1664:
1661:
1660:
1659:
1654:
1652:Pitch interval
1649:
1644:
1639:
1634:
1627:
1624:
1623:
1622:
1616:
1610:
1604:
1598:
1593:
1590:
1585:
1578:
1573:
1557:
1554:
1534:. "Quiet", in
1508:
1507:
1504:
1495:
1492:
1471:
1465:
1457:
1456:
1453:
1452:
1448:
1447:
1443:
1442:
1439:
1435:
1434:
1431:
1428:
1424:
1423:
1420:
1417:
1414:
1410:
1409:
1406:
1403:
1400:
1396:
1395:
1392:
1389:
1386:
1346:
1343:
1291:
1271:
1255:
1246:
1235:
1230:
1229:
1228:
1219:
1218:
1217:
1215:
1212:
1200:Main article:
1197:
1194:
1155:Main article:
1152:
1149:
1141:
1140:
1137:
1136:
1133:
1130:
1127:
1123:
1122:
1119:
1116:
1113:
1109:
1108:
1105:
1102:
1099:
1095:
1094:
1091:
1088:
1085:
1070:
1069:
1066:
1065:
1064:and RI of RI.
1062:
1059:
1056:
1052:
1051:
1048:
1045:
1042:
1038:
1037:
1034:
1031:
1028:
1024:
1023:
1020:
1017:
1014:
989:
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979:
970:
966:
940:
932:
929:
923:
920:
910:
907:
877:
874:
845:
844:
833:
832:
806:
805:
794:
793:
781:
778:
751:
750:
746:
742:
738:
734:
730:
719:
686:
683:
657:equal tempered
633:
620:
610:
607:"Sehr langsam"
605:
604:
603:
594:
593:
592:
587:Main article:
584:
581:
483:Milton Babbitt
356:
311:
307:
299:
295:
293:
282:
277:
276:
264:
253:
248:
247:
246:
237:
236:
235:
233:
232:History of use
230:
137:
125:
114:
100:
99:
88:
77:
59:
58:
57:
48:
47:
46:
26:
9:
6:
4:
3:
2:
4783:
4772:
4769:
4767:
4764:
4762:
4759:
4758:
4756:
4746:
4736:
4735:
4732:
4719:
4715:
4711:
4709:
4701:
4700:
4698:
4697:
4689:
4683:
4680:
4678:
4675:
4674:
4672:
4668:
4662:
4659:
4657:
4654:
4652:
4649:
4647:
4644:
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4639:
4637:
4634:
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4627:
4624:
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4619:
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4614:
4612:
4609:
4607:
4604:
4602:
4599:
4597:
4594:
4592:
4589:
4587:
4584:
4582:
4579:
4577:
4574:
4572:
4569:
4567:
4564:
4562:
4561:Expressionism
4559:
4557:
4554:
4552:
4549:
4548:
4546:
4538:
4526:
4523:
4521:
4518:
4516:
4513:
4511:
4508:
4507:
4505:
4504:
4502:
4498:
4490:
4487:
4485:
4482:
4480:
4477:
4476:
4474:
4470:
4467:
4466:
4464:
4460:
4457:
4456:
4454:
4450:
4447:
4446:
4444:
4440:
4437:
4435:
4432:
4431:
4429:
4425:
4422:
4420:
4417:
4415:
4412:
4410:
4407:
4405:
4402:
4400:
4397:
4396:
4394:
4390:
4387:
4386:
4384:
4380:
4377:
4376:
4374:
4370:
4367:
4366:
4364:
4360:
4357:
4355:
4352:
4350:
4347:
4345:
4342:
4340:
4337:
4336:
4334:
4333:
4331:
4327:
4324:
4320:
4316:
4311:
4307:
4300:
4295:
4293:
4288:
4286:
4281:
4280:
4277:
4265:
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4245:
4242:
4240:
4239:
4235:
4233:
4230:
4227:
4224:
4222:
4219:
4217:
4214:
4212:
4209:
4207:
4206:
4202:
4200:
4197:
4195:
4192:
4190:
4187:
4185:
4182:
4180:
4179:Gustav Mahler
4177:
4175:
4172:
4170:
4167:
4165:
4162:
4160:
4159:Louis Krasner
4157:
4155:
4152:
4150:
4147:
4145:
4142:
4139:
4138:
4133:
4131:
4128:
4126:
4123:
4121:
4118:
4116:
4113:
4111:
4110:Stefan George
4108:
4106:
4103:
4101:
4098:
4096:
4093:
4091:
4088:
4086:
4083:
4081:
4078:
4076:
4073:
4071:
4068:
4066:
4063:
4061:
4058:
4056:
4053:
4051:
4048:
4046:
4043:
4041:
4040:
4036:
4035:
4033:
4029:
4022:
4019:
4016:
4015:
4011:
4008:
4004:
4000:
3999:
3995:
3992:
3988:
3985:, 1928 ii-iv
3984:
3980:
3979:
3975:
3972:
3968:
3965:
3961:
3960:Kammerkonzert
3958:
3955:
3954:
3950:
3947:
3944:
3941:
3937:
3936:
3932:
3929:
3926:
3923:
3920:
3917:
3913:
3910:
3907:
3903:
3902:
3900:
3897:
3893:
3886:
3883:
3880:
3877:
3874:
3871:
3868:
3865:
3862:
3859:
3856:
3853:
3852:
3850:
3847:
3843:
3832:
3831:
3827:
3826:
3824:
3820:
3813:
3812:
3811:Harmonielehre
3808:
3807:
3805:
3801:
3794:
3791:
3788:
3785:
3784:
3782:
3778:
3771:
3767:
3766:
3762:
3759:
3758:
3754:
3751:
3750:
3746:
3743:
3742:
3738:
3737:
3735:
3731:
3724:
3723:KlavierstĂŒcke
3721:
3718:
3715:
3712:
3709:
3706:
3703:
3700:
3697:
3696:
3694:
3690:
3683:
3679:
3676:
3673:
3672:
3668:
3665:
3662:
3659:
3656:
3653:
3650:
3647:
3646:
3642:
3641:
3639:
3635:
3628:
3627:
3623:
3620:
3619:
3618:Genesis Suite
3615:"Prelude" to
3614:
3611:
3610:
3606:
3603:
3599:
3598:
3594:
3593:
3591:
3587:
3580:
3577:
3574:
3571:
3568:
3565:
3562:
3559:
3555:
3551:
3548:
3545:
3542:
3539:
3535:
3531:
3530:
3526:
3525:
3523:
3519:
3512:
3509:
3506:
3505:
3501:
3498:
3497:
3493:
3490:
3489:
3485:
3482:
3481:
3477:
3476:
3474:
3470:
3467:
3464:
3460:
3456:
3449:
3444:
3442:
3437:
3435:
3430:
3429:
3426:
3416:
3406:
3400:
3397:
3395:
3392:
3390:
3387:
3385:
3382:
3380:
3377:
3375:
3372:
3370:
3367:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3347:
3345:
3342:
3340:
3337:
3336:
3334:
3330:
3323:
3322:
3317:
3315:
3312:
3308:
3305:
3303:
3300:
3298:
3295:
3294:
3293:
3290:
3288:
3285:
3283:
3282:Pierre Boulez
3280:
3278:
3275:
3274:
3272:
3270:
3264:
3258:
3255:
3253:
3250:
3248:
3245:
3243:
3240:
3238:
3235:
3234:
3232:
3230:
3226:
3221:
3209:
3206:
3204:
3201:
3200:
3199:
3196:
3192:
3189:
3188:
3187:
3184:
3182:
3179:
3177:
3174:
3172:
3169:
3167:
3164:
3162:
3159:
3157:
3154:
3153:
3151:
3147:
3143:
3139:
3132:
3127:
3125:
3120:
3118:
3113:
3112:
3109:
3097:
3094:
3093:
3091:
3087:
3081:
3080:Unified field
3078:
3076:
3073:
3071:
3068:
3066:
3063:
3059:
3056:
3055:
3054:
3051:
3049:
3046:
3044:
3043:
3039:
3037:
3034:
3032:
3029:
3027:
3024:
3022:
3019:
3017:
3014:
3013:
3011:
3005:
2999:
2996:
2994:
2991:
2989:
2986:
2982:
2979:
2977:
2974:
2973:
2972:
2969:
2968:
2966:
2960:
2954:
2951:
2949:
2946:
2944:
2941:
2939:
2936:
2934:
2931:
2930:
2928:
2922:
2918:
2917:post-tonality
2914:
2907:
2902:
2900:
2895:
2893:
2888:
2887:
2884:
2878:
2875:
2871:
2866:
2862:
2859:
2857:
2853:
2848:
2845:
2842:
2839:
2836:
2834:
2831:
2828:
2825:
2822:
2819:
2818:
2808:
2807:0-938856-06-5
2804:
2800:
2799:0-582-28059-1
2796:
2792:
2788:
2785:
2779:
2775:
2771:
2770:
2765:
2762:
2758:
2754:
2752:
2751:3-902796-03-0
2748:
2744:
2740:
2737:
2736:
2731:
2730:Krenek, Ernst
2728:
2725:
2724:0-521-62371-5
2721:
2717:
2713:
2711:
2710:0-8153-2830-3
2707:
2703:
2699:
2693:
2689:
2685:
2684:
2679:
2678:
2667:
2663:
2659:
2655:
2651:
2647:
2644:
2638:
2634:
2630:
2629:
2624:
2620:
2617:
2611:
2607:
2603:
2602:
2597:
2592:
2589:
2586:
2585:
2583:
2582:0-520-05294-3
2579:
2575:
2574:Leonard Stein
2571:
2567:
2564:
2561:
2557:
2553:
2550:
2547:
2546:0-313-20478-0
2543:
2539:
2535:
2534:Reti, Rudolph
2532:
2529:
2525:
2521:
2517:
2515:
2514:0-520-03395-7
2511:
2507:
2503:
2502:Perle, George
2500:
2498:
2494:
2490:
2489:
2484:
2481:
2478:
2474:
2470:
2466:
2463:
2462:90-313-0244-9
2459:
2455:
2451:
2450:90-5356-765-8
2447:
2443:
2439:
2438:Leeuw, Ton de
2436:
2433:
2429:
2428:Stanley Sadie
2425:
2424:
2419:
2415:
2412:
2406:
2402:
2398:
2394:
2390:
2389:
2384:
2381:
2380:0-19-315260-6
2377:
2373:
2369:
2365:
2361:
2357:
2356:
2351:
2346:
2343:
2342:0-252-06275-2
2339:
2335:
2334:0-252-00454-X
2331:
2327:
2323:
2320:
2317:
2316:
2311:
2308:
2304:
2300:
2299:
2294:
2288:
2284:
2280:
2279:
2274:
2268:
2264:
2260:
2256:
2252:
2251:
2246:
2243:
2240:
2236:
2232:
2228:
2227:
2213:
2204:
2195:
2186:
2177:
2175:
2165:
2156:
2147:
2138:
2129:
2120:
2111:
2103:
2099:
2095:
2091:
2087:
2083:
2079:
2075:
2070:
2062:
2054:
2050:
2046:
2042:
2038:
2034:
2029:
2021:
2013:
2007:
2003:
1996:
1988:
1982:
1978:
1971:
1962:
1953:
1938:
1934:
1927:
1921:
1917:
1916:Scott Bradley
1912:
1904:
1898:
1894:
1893:
1885:
1877:
1870:
1861:
1854:
1849:
1840:
1831:
1829:
1827:
1817:
1808:
1799:
1797:
1787:
1779:
1775:
1771:
1767:
1763:
1757:
1748:
1739:
1730:
1721:
1712:
1710:
1700:
1698:
1688:
1686:
1676:
1672:
1658:
1655:
1653:
1650:
1648:
1645:
1643:
1640:
1638:
1635:
1633:
1630:
1629:
1620:
1617:
1614:
1611:
1608:
1605:
1603:
1599:
1597:
1594:
1591:
1589:
1586:
1583:
1579:
1577:
1574:
1572:
1569:
1566:
1563:
1562:
1561:
1553:
1551:
1547:
1543:
1542:
1537:
1533:
1529:
1528:
1522:
1519:
1517:
1513:
1505:
1502:
1501:
1500:
1491:
1489:
1485:
1481:
1480:
1470:
1464:
1462:
1461:order numbers
1450:
1449:
1445:
1444:
1440:
1437:
1436:
1432:
1429:
1426:
1425:
1421:
1418:
1415:
1412:
1411:
1407:
1404:
1401:
1398:
1397:
1393:
1390:
1387:
1384:
1383:
1380:
1379:
1378:
1375:
1372:
1366:
1358:
1357:
1351:
1342:
1340:
1336:
1335:combinatorial
1332:
1328:
1324:
1319:
1315:
1313:
1309:
1305:
1299:
1297:
1250:
1233:
1211:
1208:
1203:
1193:
1191:
1187:
1183:
1179:
1175:
1171:
1167:
1163:
1158:
1148:
1146:
1134:
1131:
1128:
1125:
1124:
1120:
1117:
1114:
1111:
1110:
1106:
1103:
1100:
1097:
1096:
1092:
1089:
1086:
1083:
1082:
1079:
1078:
1077:
1075:
1063:
1060:
1057:
1054:
1053:
1050:and R of RI.
1049:
1046:
1043:
1040:
1039:
1036:and I of RI.
1035:
1032:
1029:
1026:
1025:
1021:
1018:
1015:
1012:
1011:
1008:
1007:
1006:
1004:
1000:
999:
994:
986:
985:
980:
977:
976:
971:
964:
963:transposition
961:
960:
959:
956:
954:
950:
946:
945:pitch classes
938:
928:
919:
915:
906:
904:
895:
890:
886:
884:
873:
865:
861:
859:
854:
850:
842:
838:
837:
836:
830:
826:
825:
824:
822:
818:
814:
811:
803:
799:
798:
797:
791:
787:
786:
785:
777:
775:
771:
767:
763:
759:
754:
728:
724:
720:
717:
713:
712:
707:
706:
702:(denoted I),
701:
700:
695:
691:
687:
684:
681:
677:
676:
675:
673:
669:
665:
661:
660:pitch classes
658:
654:
650:
649:
641:
639:
628:
624:
608:
590:
580:
578:
577:
573:
572:extended play
569:
565:
564:Ron Jarzombek
560:
558:
554:
550:
544:
540:
538:
537:
532:
531:
526:
525:Scott Bradley
521:
518:
514:
512:
508:
504:
500:
496:
492:
491:Pierre Boulez
488:
487:Luciano Berio
484:
479:
477:
476:dominant note
473:
469:
465:
461:
457:
454:
449:
445:
443:
439:
435:
430:
425:
423:
419:
415:
411:
407:
403:
399:
394:
392:
388:
384:
380:
375:
371:
364:
362:
348:
305:
280:
269:
251:
229:
227:
226:
221:
216:
214:
209:
207:
203:
202:Aaron Copland
199:
195:
191:
186:
184:
180:
179:pitch classes
176:
172:
168:
164:
160:
156:
152:
145:
143:
129:
112:
103:
92:
75:
66:
64:
41:
37:
33:
19:
4694:
4660:
4656:Tone cluster
4611:Polytonality
4556:Experimental
4259:Franz Werfel
4248:
4238:Sprechstimme
4236:
4221:Egon Schiele
4203:
4164:Ernst Krenek
4144:Gustav Klimt
4075:Athematicism
4037:
4012:
4001:(1928-1935,
3996:
3976:
3951:
3933:
3922:Piano Sonata
3914:(1905-1908,
3846:Anton Webern
3828:
3809:
3763:
3755:
3747:
3739:
3692:Instrumental
3669:
3643:
3624:
3616:
3607:
3597:Gurre-Lieder
3595:
3564:Wind Quintet
3527:
3502:
3496:HerzgewÀchse
3494:
3486:
3478:
3319:
3307:Anton Webern
3229:Permutations
3149:Fundamentals
3137:
3089:Compositions
3075:Tone cluster
3053:Polytonality
3040:
3016:Chromaticism
3009:and concepts
2970:
2943:Mystic chord
2846:by Dan RomĂĄn
2790:
2767:
2760:
2742:
2733:
2715:
2701:
2681:
2649:
2626:
2622:
2599:
2572:, edited by
2569:
2555:
2552:Rufer, Josef
2537:
2519:
2505:
2486:
2468:
2453:
2441:
2432:John Tyrrell
2421:
2418:George Perle
2414:Lansky, Paul
2386:
2371:
2353:
2350:Felix Khuner
2325:
2313:
2296:
2276:
2248:
2230:
2212:
2203:
2194:
2185:
2164:
2155:
2146:
2137:
2128:
2119:
2110:
2077:
2073:
2061:
2036:
2032:
2020:
2001:
1995:
1976:
1970:
1961:
1952:
1940:. Retrieved
1936:
1926:
1911:
1891:
1884:
1869:
1860:
1848:
1839:
1816:
1807:
1786:
1769:
1765:
1756:
1747:
1738:
1729:
1720:
1675:
1600:Hexachordal
1588:Partitioning
1584:presentation
1559:
1549:
1539:
1525:
1523:
1520:
1509:
1497:
1488:Dallapicolla
1482:and also by
1479:KlavierstĂŒck
1478:
1474:
1468:
1460:
1458:
1376:
1370:
1368:
1354:
1327:George Perle
1317:
1316:
1308:Anton Webern
1303:
1302:
1293:
1205:
1186:partitioning
1185:
1161:
1160:
1144:
1142:
1071:
1022:and I of R.
1002:
996:
992:
990:
982:
973:
957:
952:
937:prime series
936:
934:
925:
916:
912:
899:
894:Wind Quintet
879:
870:
857:
853:permutations
846:
834:
807:
795:
783:
773:
770:derived rows
769:
761:
757:
755:
752:
715:
709:
703:
697:
692:-preserving
671:
667:
655:(the twelve
646:
644:
635:
623:Anton Webern
574:
561:
548:
546:
542:
534:
528:
522:
515:
511:serial music
499:Ernst Krenek
480:
448:Felix Khuner
446:
441:
438:Rudolph Reti
436:
432:
427:
418:Carl Ruggles
395:
387:Anton Webern
367:
358:
223:
217:
210:
187:
162:
158:
154:
150:
148:
139:
62:
36:
4771:12 (number)
4606:Polyrhythms
4581:Neotonality
4469:Szymanowski
4174:Alma Mahler
4060:Guido Adler
3978:Lyric Suite
3898:(1885-1935)
3861:Passacaglia
3848:(1883-1945)
3833:(1922-1927)
3780:Concertante
3511:Vier Lieder
3480:Vier Lieder
3465:(1874-1951)
3379:Punctualism
3364:Equivalence
2868: [
2207:Brett 2007.
1568:inversional
1565:Hexachordal
1182:major third
1166:derived set
1157:Derived row
821:major sixth
817:minor third
682:placement).
414:BĂ©la BartĂłk
155:dodecaphony
4755:Categories
4651:Surrealism
4646:Stochastic
4636:Sound mass
4571:Microtonal
4543:techniques
4541:Genres and
4489:Stravinsky
4449:Skalkottas
4354:Schoenberg
4154:Karl Kraus
4009:1962-1978)
3991:str. orch.
3896:Alban Berg
3637:Orchestral
3604:1910-1911)
3558:str. orch.
3538:str. orch.
3394:Time point
3389:Set theory
3297:Alban Berg
3242:Retrograde
3181:Invariance
3166:Derivation
3070:Tone Clock
3021:Cyclic set
3007:Techniques
2962:Genres and
2924:Scales and
1942:19 January
1937:MetalSucks
1663:References
1596:Invariants
1576:Aggregates
1363:See also:
1318:Invariance
1296:media help
1214:Invariance
1178:tetrachord
1162:Derivation
1151:Derivation
1074:four-group
975:retrograde
909:Topography
858:invariance
774:invariance
723:transposed
705:retrograde
664:postulates
638:media help
557:tone poems
536:Droopy Dog
383:Alban Berg
361:media help
220:hexachords
142:media help
4631:Serialism
4551:Atonality
4479:Prokofiev
4322:Composers
4070:Atonality
3741:Erwartung
3349:Atonality
3269:composers
3247:Inversion
3237:Prime row
3203:Aggregate
3186:Partition
3171:Hexachord
3142:serialism
2993:Serialism
2913:Atonality
2336:(cloth);
2102:171497028
2094:0022-2909
2053:0195-6167
1843:Reti 1958
1778:0027-4666
1304:Invariant
1047:RI of R,
1033:RI of I,
1016:RI of P,
984:inversion
949:factorial
903:serialism
810:intervals
718:form (P).
699:inversion
627:serialism
464:semitones
456:harmonies
213:serialism
175:tone rows
4708:Category
4641:Spectral
4566:Futurism
4500:Americas
4484:Scriabin
4455:Hungary
4430:Germany
4414:Messiaen
4409:Koechlin
4385:Finland
4375:Czechia
4369:Pousseur
4365:Belgium
4335:Austria
4014:Der Wein
3867:Symphony
3384:Semitone
3198:Tone row
2789:. 1979.
2660:(cloth)
2648:. 2008.
2568:. 1975.
2554:. 1954.
2536:. 1958.
2504:. 1977.
2440:. 2005.
2352:. 1996.
2324:. 1987.
1626:See also
1477:Op. 33a
1286:âCâGâF).
1283:♭
1277:♯
1267:♭
1261:♯
1170:trichord
1145:multiply
1061:I of I,
1058:R of R,
1044:I of P,
1030:R of P,
1019:R of I,
813:inverted
776:below.)
766:symmetry
762:row form
758:set form
733:, then P
708:(R), or
690:interval
648:tone row
589:Tone row
583:Tone row
474:and the
422:ostinato
341:♯
335:♯
329:♯
323:♮
317:♭
4693: â
4621:Process
4510:Antheil
4475:Russia
4465:Poland
4445:Greece
4439:Strauss
4419:Milhaud
4404:Jolivet
4395:France
4389:Bergman
4005:compl.
3953:Wozzeck
3521:Chamber
3267:Notable
2964:schools
2856:YouTube
2223:Sources
1607:Harmony
1580:Linear
1541:Candide
1422:******
1408:******
1339:derived
1331:pitches
1013:RI is:
883:harmony
780:Example
727:integer
551:short "
466:of the
4731:Portal
4718:Portal
4520:Cowell
4515:Carter
4459:BartĂłk
4424:VarĂšse
4359:Webern
4349:Mahler
4344:Krenek
4329:Europe
4228:(1913)
4017:(1929)
3940:rearr.
3857:(1905)
3770:Kocsis
3621:(1945)
3589:Choral
2926:tuning
2805:
2797:
2778:843626
2776:
2749:
2722:
2708:
2692:843913
2690:
2668:(pbk).
2664:
2656:
2637:832508
2635:
2610:832323
2608:
2580:
2544:
2526:
2512:
2475:
2460:
2448:
2405:739013
2403:
2378:
2344:(pbk).
2340:
2332:
2305:
2287:842871
2285:
2267:740374
2265:
2237:
2100:
2092:
2051:
2008:
1983:
1899:
1776:
1602:levels
1055:P is:
1041:I is:
1027:R is:
953:unique
680:octave
672:series
460:atonal
398:atonal
320:âCâFâB
225:tropes
65:Op. 19
4596:Noise
4434:Reger
4399:Henry
4050:6-Z44
4007:Cerha
4003:orch.
3942:1917)
3918:1928)
3916:orch.
3822:Drama
3772:2010)
3733:Opera
3602:orch.
3472:Vocal
3399:Trope
2872:]
2774:JSTOR
2688:JSTOR
2633:JSTOR
2606:JSTOR
2401:JSTOR
2283:JSTOR
2263:JSTOR
2098:S2CID
1855:, 28.
1668:Notes
1613:Metre
1494:Other
1433:****
716:prime
472:tonic
453:tonal
442:Nomos
310:and I
298:and I
110:]
106:[
73:]
69:[
63:Nomos
4525:Ives
4379:HĂĄba
4339:Berg
4045:6-20
3998:Lulu
3989:for
3987:arr.
3964:arr.
3803:Text
3682:arr.
3556:for
3554:arr.
3536:for
3534:arr.
3321:more
3208:List
3140:and
2981:List
2915:and
2803:ISBN
2795:ISBN
2747:ISBN
2720:ISBN
2706:ISBN
2662:ISBN
2654:ISBN
2578:ISBN
2542:ISBN
2524:ISBN
2510:ISBN
2473:ISBN
2458:ISBN
2446:ISBN
2430:and
2376:ISBN
2338:ISBN
2330:ISBN
2303:ISBN
2235:ISBN
2090:ISSN
2049:ISSN
2006:ISBN
1981:ISBN
1944:2021
1920:IMDb
1897:ISBN
1774:ISSN
1486:but
1484:Berg
1441:***
1419:****
1405:****
1337:and
1310:and
1274:(DâC
1264:âGâA
1258:(CâC
1098:RI:
1087:RI:
993:four
987:(I).
772:and
533:and
402:cell
204:and
149:The
3324:...
3318:...
2976:Row
2863:by
2854:on
2759:".
2625:".
2493:doi
2393:doi
2255:doi
2082:doi
2041:doi
1918:at
1770:124
1582:set
1538:'s
1530:by
1451:**
1446:**
1430:***
1416:***
1402:***
1132:RI
1126:I:
1121:RI
1112:R:
1093:I:
1090:R:
1084:P:
1005:).
978:(R)
905:).
823:):
760:or
670:or
668:set
570:'s
478:).
222:or
183:key
4757::
2870:fr
2584:.
2416:;
2399:.
2362:,
2261:.
2173:^
2096:.
2088:.
2078:62
2076:.
2072:.
2047:.
2037:41
2035:.
2031:.
1935:.
1825:^
1795:^
1768:.
1764:.
1708:^
1696:^
1684:^
1438:**
1427:**
1413:**
1399:**
1394:2
1391:3
1388:4
1385:6
1369:A
1341:.
1325:.
1314:.
1280:âA
1192:.
1135:P
1129:R
1118:P
1115:I
1107:R
1104:I
1101:P
1003:RI
885:.
501:,
497:,
493:,
489:,
485:,
416:,
412:,
408:,
385:,
338:âF
332:âD
215:.
185:.
157:,
4733::
4298:e
4291:t
4284:v
3993:)
3969:"
3904:"
3560:)
3540:)
3447:e
3440:t
3433:v
3130:e
3123:t
3116:v
2905:e
2898:t
2891:v
2809:.
2783:.
2726:.
2697:.
2642:.
2615:.
2548:.
2530:.
2495::
2479:.
2464:.
2410:.
2395::
2382:.
2309:.
2292:.
2272:.
2257::
2241:.
2104:.
2084::
2055:.
2043::
2014:.
1989:.
1946:.
1905:.
1878:.
1780:.
1359:.
1298:.
1272:5
1256:0
1001:(
969:.
967:Ï
941:0
747:1
743:1
739:1
735:1
731:0
640:.
381:â
363:.
344:.
312:6
308:1
300:6
296:1
144:.
108:2
71:1
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
