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?

<P0-S0> 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. <P0-S1>  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. <P0-S2>  All 12 notes are thus given more or less equal importance, and the music avoids being in a key. <P0-S3>  Over time, the technique increased greatly in popularity and eventually became widely influential on 20th century composers. <P0-S4>  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. <SEP> <P1-S0> Alban Maria Johannes Berg ( ; ] ; February 9, 1885 – December 24, 1935) was an Austrian composer of the Second Viennese School. <P1-S1>  His compositional style combined Romantic lyricism with twelve-tone technique. <SEP> <P2-S0> 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). <P2-S1>  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. <P2-S2>  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." <P2-S3>  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. <P2-S4>  "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." <P2-S5>  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. <P2-S6>  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. <SEP> <P3-S0> Raymond Monelle (19 August 1937 in Bristol, England – 12 March 2010 in Edinburgh, Scotland). <P3-S1>  was a music theorist, teacher, music critic, composer and jazz pianist. <P3-S2>  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. <P3-S3>  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.