The Adherence And Breakthrough Of Composition Practice To Theoretical Rules

The aim of this thesis is to explore two issues through one fact.Based on the development of the classical 12-note series and its later deformation,this paper explores the reasons,approaches,and results of composers either followed or broke the theoretical rules during their compositional processes,and further discusses the creation-theory relationship in the compositional practice.This paper combines theoretical analysis and example verification,focusing on the 12-note series and its relative techniques,to which all the other compositional skills involved in this paper are referred and correlated.Works of composers from different historical periods,cultural backgrounds and aesthetic concepts are selected and analyzed upon an overview of music history and examination of documents.Following an effective synthesis of the results,the historical significance of the 12-note series,its future influences,as well as the composers’ attitudes and specific practices towards “tradition” and “innovation” will be summarized.The paper is presented in three chapters,focusing on the core essence of the 12-note series system,namely,the “logical procedure” and the “atonality claim,” illustrating how composers from the twentieth century developed and deformed the rules of “non-repetition,” “atonality,” and“logical procedure” that were proposed by Arnold Schoenberg.The research demonstrates the relationship between theory and practice,revealing the fact that all theories are systematic and rational,which could be therefore inseparable and instructive to the practice.However,all theories are at the same time contemporary and limited to a certain extent,meaning that it is almost impossible to build a theory with universal applicability.Therefore,theories need to be tested in practice,as well as to be affirmed,denied,transformed,and innovated through different historical periods,purposes,and subjects,so as to achieve self-development and self-renewal.The applications of Schoenberg’s 12-note techniques in other composers’ music works exemplified in this paper on the one hand demonstrates the system to have been scientific and useful in guiding musical practices,and on the other hand,reflects the flexibility and creativity of composers in employing the theory.