1 oct. 1923 - Twelve-Tone, 2nd Viennese School

Description:

The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note[3] through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. 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 Aaron Copland and Igor Stravinsky,[clarification needed] eventually adopted it in their music.

Arnold Schoenberg pioneered and created this technique, having many students in what he called the "Second Viennese School". This relates to the more amorphous "(First) Viennese School" which relates to Haydn, Mozart, Beethoven, and Schubert, all of whom were Viennese masters of their day and for whom many studied together and/or admired each others' works.

The principal members of the school, besides Schoenberg, were Alban Berg and Anton Webern, who were among his first composition pupils. Both of them had already produced copious and talented music in a late Romantic idiom but felt they gained new direction and discipline from Schoenberg's teaching. Other members of this generation included Ernst Krenek, Heinrich Jalowetz, Erwin Stein and Egon Wellesz, and somewhat later Eduard Steuermann, Hanns Eisler, Robert Gerhard, Norbert von Hannenheim, Rudolf Kolisch, Paul A. Pisk, Karl Rankl, Josef Rufer, Nikos Skalkottas, Viktor Ullmann, and Winfried Zillig.[2] Schoenberg's brother-in-law Alexander Zemlinsky is sometimes included as part of the Second Viennese School, though he was never Schoenberg's pupil and never renounced a traditional conception of tonality.

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