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8] Once again, a simple or minimal twelve-tone theory simply producing an ordering of the twelve pitch classes along with a set of basic operations determines very little about the organization of structural levels relating the musical surface to a background structure, presumably a single row form.
In that weak model of the twelve-tone system, there is at least plenty of room for choice: after you lay out one ordering of the twelve pitch classes, you go and pick another one, for who knows what reason.
Thus the twelve pitch classes have been replaced by twelve different registers of noise.