ABSTRACT
Many commentators identify three stylistic periods in Kokkonen's oeuvre. His first period, dating until 1957, is marked by formal designs and textures reminiscent of neoclassicism, along with a harmonic and melodic language that demonstrates Kokkonen knew his Hindemith well. Kokkonen's second, "dodecaphonic," period is traditionally acknowledged to begin with the first string quartet of 1959 and end with the 1966 second string quartet. The third and final period is described to begin with the 1967 third symphony. Twelve-Tone Composition Unlike a number of his compatriots during the 1950s, Kokkonen never undertook any formal studies about twelve-tone music; rather, his education was entirely self-directed. Kokkonen's twelve-tone works present a far greater test to the concept of "dodecaphonic organic unity." Like the works by many other post-World War II Finnish composers, Kokkonen's neoclassical and dodecaphonic compositions were to a large degree a reaction against the widespread romantic-styled music that had dominated Finnish art music prior to World War II.
