The twelve-tone technique is like a Gaussian blur for melody. It generates a melody which is all-but-impossible for a listener to focus on actively.
That can be useful in certain scoring contexts where you want the music to be background while dramatic on-screen elements occupy the foreground.
That's a pretty limited use case, though... which is basically my point. In most circumstances, the twelve-tone technique doesn't produce results many people find compelling.
That can be useful in certain scoring contexts where you want the music to be background while dramatic on-screen elements occupy the foreground.
That's a pretty limited use case, though... which is basically my point. In most circumstances, the twelve-tone technique doesn't produce results many people find compelling.