Even radical atonal and twelve-tone music retained tonal rhythm and meter

Evidence

Remnants of the past, such as the chromatic elements of free atonality, are no more tolerable now than they were then, when the immanent demands of the material had not been fully perceived … It was Stockhausen who observed that the whole rhythmic and metrical structure, both of atonal music and of Schoenberg’s twelve-tone music, had in a sense remained tonal. This should never be forgotten now; the inconsistency should not be tolerated. — Rolf Wiggershaus, The Frankfurt School, 2205

Categorization

• XREF: Connects to critical-theory discussions of how the new inevitably retains traces of the old, as in Adorno’s dialectical framework elsewhere in this book. — connects to: Harmony is sustained through chords of two or more simultaneous notes
• SHARE: For someone into music theory: Stockhausen’s observation that Schoenberg’s twelve-tone rhythm stayed tonal.

Broader Connections

• Harmony is sustained through chords of two or more simultaneous notes #corroborates (0.75)