Question: Who  wrote three books, dozens of articles on music, and many music criticism reviews in newspapers, mainly for "Opera" and "The Independent" , and a work on the adolescence of an Austrian composer of the Second Viennese School who's style combined Romantic lyricism with twelve-tone technique?

Context articles: Arnold Schoenberg
Raymond Monelle
Alban Berg
Serialism
Second Viennese School
Hugo Wolf
Combinatoriality
Twelve-tone technique
Symphony No. 3 (Garayev)
Anton Webern

Arnold Franz Walter Schoenberg or Schönberg ( ; ] ; 13 September 187413 July 1951) was an Austrian composer, music theorist, and painter.
 He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School.
 With the rise of the Nazi Party, Schoenberg's works were labelled degenerate music, because they were modernist, atonal and what even Paul Hindemith called "sonic orgies" and "decadent intellectual efforts".
 He emigrated to the United States of America in 1934.
Raymond Monelle (19 August 1937 in Bristol, England – 12 March 2010 in Edinburgh, Scotland).
 was a music theorist, teacher, music critic, composer and jazz pianist.
 Monelle wrote three books, dozens of articles on music, and many music criticism reviews in newspapers, mainly for "Opera" and "The Independent" His main field of research was Music Signification or, as it is also known, Music Semiotics.
 Towards the end of his life he wrote a novel, yet to be published, entitled "Bird in the Apple Tree", about the adolescence of the composer Alban Berg.
Alban Maria Johannes Berg ( ; ] ; February 9, 1885 – December 24, 1935) was an Austrian composer of the Second Viennese School.
 His compositional style combined Romantic lyricism with twelve-tone technique.
In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements.
 Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking.
 Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations.
 Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre.
 The idea of serialism is also applied in various ways in the visual arts, design, and architecture (; ), and the musical concept has also been adopted in literature (; ; ).
The Second Viennese School (German: Zweite Wiener Schule, Neue Wiener Schule ) is the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th century Vienna, where he lived and taught, sporadically, between 1903 and 1925.
 Their music was initially characterized by late-Romantic expanded tonality and later, following Schoenberg's own evolution, a totally chromatic expressionism without firm tonal centre, often referred to as atonality; and later still, Schoenberg's serial twelve-tone technique.
 Though this common development took place, it neither followed a common time-line nor a cooperative path.
 Likewise, it was not a direct result of Schoenberg's teaching—which, as his various published textbooks demonstrate, was highly traditional and conservative.
 Schoenberg's textbooks also reveal that the Second Viennese School spawned not from the development of his serial method, but rather from the influence of his creative example.
Hugo Philipp Jacob Wolf (13 March 1860 – 22 February 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or Lieder.
 He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but diverging greatly in technique.
In music using the twelve tone technique, combinatoriality is a quality shared by twelve-tone tone rows whereby each section of a row and a proportionate number of its transformations combine to form aggregates (all twelve tones).
 Much as the pitches of an aggregate created by a tone row do not need to occur simultaneously, the pitches of a combinatorially created aggregate need not occur simultaneously.
 Arnold Schoenberg, creator of the twelve-tone technique, often combined P-0/I-5 to create "two aggregates, between the first hexachords of each, and the second hexachords of each, respectively."
 Combinatoriality is a side effect of derived rows, where the initial segment or set may be combined with its transformations (T,R,I,RI) to create an entire row.
 "Derivation refers to a process whereby, for instance, the initial trichord of a row can be used to arrive at a new, 'derived' row by employing the standard twelve-tone operations of transposition, inversion, retrograde, and retrograde-inversion."
 Combinatorial properties are not dependent on the order of the notes within a set, but only on the content of the set, and combinatoriality may exist between three tetrachordal and between four trichordal sets, as well as between pairs of hexachords, and six dyads.
 A complement in this context is half of a combinatorial pitch class set and most generally it is the "other half" of any pair including pitch class sets, textures, or pitch range.
Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951) and 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 or 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 even actively opposed the technique, such as Aaron Copland and Igor Stravinsky, eventually adopted it in their music.
Gara Garayev's Symphony No. 3 was composed in 1964.
 It was the last of the composer's three numbered symphonies and it marks a development from his two previous contributions to the genre, composed in the mid-1940s during his studies in the Leningrad Conservatory under Dmitri Shostakovich.
 It was one of the first serial symphonies composed in the Soviet Union, fusing the twelve-tone technique with Azerbaijani folk music influences in the ashug tradition in the frame of a classical structure, attempting "to find to new ways of artistic expression, new principles of form and construction, and, most notably, new means of expressive musical language" and wanting to prove that "strictly following the twelve-tone technique it is possible to write nationalistic music, and not simply nationalistic, but specifically ashug" according to the composer.
Anton Friedrich Wilhelm (von) Webern (] ; 3 December 188315 September 1945) was an Austrian composer and conductor.
 Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core among those within and more peripheral to the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno.
 As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself.
 As a tutor, Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Matty Niël, Fré Focke, Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe.