D.S Heersink insists:

>Simply ordering all twelve chromatic pitches, or the sharing of the use of
>similar instruments, aren't sufficient to merit duodecaphonic compositions
>with the appellation of "music."

Actually, those characteristics aren't sufficient to merit any composition
with any appellation.  Who sold you this strange notion that composing
dodecaphonic (or any) music consist of this?.  If you are talking here
about "bad" dodecaphonic works, your statement is little more than a
truism.

>...composers are free to use instruments and musical notation to compose,
>but in doing so they either (i) conform to the usual and customary use, or
>(2) deviate from the same.  If the latter, they must take care that they
>don't fall into solipsism and "private" language/music.

Uh, let's compose some music, then...It seems to be an easy task, since
there's a single "customary use" shared by all mankind and codified in
your Dictionary (would you loan it to us?).  Look:  If you don't like
dodecaphonic music, OK, that's a respectable choice and a matter of
personal taste, but please don't make aesthetical statements on a subject
that you don't know (i.e:  don't tell us how not to compose music).

>That fact that my edition of the American Heritage Dictionary doesn't
>contain the word "duodecaphonic" or "twelve tone" further supports some
>people's perception that they are "outside" ordinary use -- both
>linguistically and musically.

Well, my English Dictionary doesn't contain the word "Heersink", but I'll
be a gentleman and suppose that you are not "outside" ordinary use -- both
linguistically and musically.

Pablo Massa
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