Title: Twelve-tone technique
Content:   The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more 
Title: Twelve-tone technique
Content:  less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-century composers. Many important composers who had originally not subscribed to or actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music. Schoenberg himself described the system as a "Method of composing with twelve tones which are related only with one another". It is commonly considered a form of serialism. Schoenberg's fellow countryman and contemporary Hauer also developed a similar system using unordered hexachords or tropes—but with no connection to Schoenberg's twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg's method is considered to be historically and aesthetically most significant.
Title: Neue Musik
Content:  The most important step in the reorientation of musical language was taken in the field of harmony, namely the gradual abandonment of tonality – towards free atonality and finally towards twelve-tone technique. Towards the end of the 19th century, the tendency to use increasingly complex chord formations led to harmonic areas that could no longer be clearly explained by the underlying major-minor tonality – a process that had already begun with Wagner and Liszt. From this, Arnold Schönberg and his students Alban Berg and Anton Webern drew the most systematic consequence, which culminated in the formulation (1924) of the method 
Title: Twelve-tone technique
Content:  Though most sources will say it was invented by Austrian composer Arnold Schoenberg in 1921 and first described privately to his associates in 1923, in fact Josef Matthias Hauer published his "law of the twelve tones" in 1919, requiring that all twelve chromatic notes sound before any note is repeated. The method was used during the next twenty years almost exclusively by the composers of the Second Viennese School—Alban Berg, Anton Webern, and Schoenberg himself. The twelve tone technique was preceded by "freely" atonal pieces of 1908–1923 which, though "free", often have as an "integrative element ... a minute intervallic cell" which in addition to expansion may be 
Title: George Tremblay
Content:  actors, and composers. In 1934 Tremblay’s "long-standing ambition" to study under Arnold Schoenberg was realized when the composer emigrated from Europe to Los Angeles due to the rise of the Nazis under Adolf Hitler in 1933. Tremblay claims to have independently discovered the twelve-tone system of musical composition in the summer of 1933; upon telling Schoenberg, the master remarked that it was a natural thing to discover because it was the next logical development in tonality. Schoenberg, always willing to learn from his own students, supposedly was inspired to compose his Ode to Napoleon (1942) with a row of two symmetrical hexachords after 
Title: Neue Musik
Content:  "composition with twelve tones related only to one another" (dodecaphony). These atonal rules of composition provide composers with a toolkit that helps to avoid the principles of tonality. The designation as "Second Viennese School" in analogy to the "First Viennese School" (Haydn, Mozart, Beethoven) already betrays the special position that this group of composers has as a mediating authority. The principle of using all twelve tones of the tempered The principle of using all twelve tones of the tempered scale equally, without favouring individual tones, seems to have occupied various composers in the first two decades of the 20th century, 
Title: Arnold Schoenberg
Content: 1) Hexachordal inversional combinatoriality ; 2) Aggregates ; 3) Linear set presentation ; 4) Partitioning ; 5) Isomorphic partitioning ; 6) Invariants ; 7) Hexachordal levels ; 8) Harmony, "consistent with and derived from the properties of the referential set" ; 9) Metre, established through "pitch-relational characteristics" ; 10) Multidimensional set presentations In the early 1920s, he worked at evolving a means of order that would make his musical texture simpler and clearer. This resulted in the "method of composing with twelve tones which are related only with one another", in which the twelve pitches of the octave (unrealized compositionally) are regarded as equal, and no one note or tonality is given the emphasis it occupied in classical harmony. He regarded it as 
Title: Serialism
Content:  to common practice harmony. Twelve-tone serialism first appeared in the 1920s, with antecedents predating that decade (instances of 12-note passages occur in Liszt's Faust Symphony and in Bach. Schoenberg was the composer most decisively involved in devising and demonstrating the fundamentals of twelve-tone serialism, though it is clear it is not the work of just one musician. In Schoenberg’s own words, his goal of l'invention contrariée was to show constraint in composition. Consequently, some reviewers have jumped to the conclusion that serialism acted as a predetermined method of composing to avoid the subjectivity and ego of a composer in favour of calculated measure and proportion.
Title: Twelve-tone technique
Content:  replace one structural force (tonality) by another (increased thematic oneness) is indeed the fundamental idea behind the twelve-tone technique", arguing it arose out of Schoenberg's frustrations with free atonality, providing a "positive premise" for atonality. In Hauer's breakthrough piece Nomos, Op. 19 (1919) he used twelve-tone sections to mark out large formal divisions, such as with the opening five statements of the same twelve-tone series, stated in groups of five notes making twelve five-note phrases. Schoenberg's idea in developing the technique was for it to "replace those structural differentiations provided formerly by tonal harmonies". As such, twelve-tone music is usually atonal, and treats each of the 12 
Title: Twelve-tone technique
Content:  as with a tone row, and in which individual notes may "function as pivotal elements, to permit overlapping statements of a basic cell or the linking of two or more basic cells". The twelve-tone technique was also preceded by "nondodecaphonic serial composition" used independently in the works of Alexander Scriabin, Igor Stravinsky, Béla Bartók, Carl Ruggles, and others. Oliver Neighbour argues that Bartók was "the first composer to use a group of twelve notes consciously for a structural purpose", in 1908 with the third of his fourteen bagatelles. "Essentially, Schoenberg and Hauer systematized and defined for their own dodecaphonic purposes a pervasive technical feature of 'modern' musical practice, 

Question: who abandoned traditional harmony and created the twelve-tone system for composition?
Answer: Arnold Schoenberg.