ABSTRACT
This chapter examines the theory of twelve-tone music. Dodecaphonic music is based on ordered pitch relationships, and each note within the twelve-tone row or series is treated equally, without prioritizing one note over the other. Since twelve-tone rows are devoid of any traces of tonality and traditional tonal behaviors, the need of establishing an even stronger connection between horizontal and vertical forces is elevated to a new level. The process of selecting or composing a twelve-tone row is the most important step, which determines whether peoples composition will be successful or not. The structure of twelve-tone rows can be analyzed from many different angles. True, while the twelve-tone style of improvisation is still in the infancy stage and is more appropriate for free styles of jazz or streams of musical consciousness, it nonetheless offers a new means of musical expression and provides a unique glimpse into one's musical personality.
