「每顆音即代表一個生命」，此段出自中國重要音樂思想的一句話，於研究所期間深深的影響了筆者，因此如何有效布局十二個音高，並組織成理想中的和絃組合，一直是筆者在每次創作中所關心的問題。
以研究「新維也納樂派」（The New Viennese School）為基礎的美國作曲家及理論家－喬治．伯爾（George Perle, 1915-2009）於1977年出版了《十二音調性》（Twelve Tone Tonality），內容進一步將荀白克（Arnold Schoenberg, 1874-1951）的「十二音列技法」（Twelve-Tone Technique）加以統整，並以「音程環」（interval cycle）為基礎延伸出新調性概念，稱之為「十二音調性」（Twelve Tone Tonality）。而它和傳統大、小調之最大的不同，即是打破了調性中的「音高階級制」，以音級的「補和」（Sum of the Complementation）概念作為「十二音調性」建構的基礎。而「補和」正是控制這些音高素材的重要關鍵。早在二十世紀初，許多作曲家們在自己的作品中已有了此概念的初步實驗，而他們的共通目標，均是在「十二音高平等化」的前提下，尋求調性突破的可能性。伯爾的理論不僅為自己的創作開啟了新的音高系統，更提供了得以解釋二十世紀初的音樂現象之可能性，頗具歷史意義。「補和」概念提供了筆者在音高設計上的重要基礎。在與中國調式相互結合、運用後，更能夠進一步建構出有別於西方的和聲聲響。目前在台灣，伯爾的概念鮮少有完整的研究及應用，因此筆者在這裡將會先介紹此音高理論，並將二十世紀初德奧與非德澳派作曲家的作品加以分析，最後闡述自我創作上的實踐。

The quotation, “Every tone represents a life”, derived from Chinese music thought influences me greatly when I studied at graduate. As a composer, it is an important task to learn methods and approaches of organization of twelve tones and chords.

George Perle (1915-2009) was a famous composer and music theorist in America. His theory, based on the composers in “The New Viennese School” and “interval cycle”, contributed greatly to the establishment of “Twelve Tone Tonality”. The theory of “Twelve Tone Tonality” was mainly established by the concept of “Sum of complementation”, which is very different from traditional tonality.
In the early 20th century, most composers were intended to break through the tonal system by using different methods in order to establish their own unique musical language. However, the concept of “Sum” was actually existed in their compositions. It means the concept of “Sum” might play an important role in this period. The theory of Perle not only provides us with the explanations of this phenomenon, but also creates a novel way in managing twelve tones. In my compositions, the concept of “Sum” also serves as an important element in developing different kinds of chords and scales.
The essay not only discusses the theory of “Twelve Tone Tonality”, but also demonstrates different kinds of analysis in twelve-tone, non twelve-tone music and the author’s compositions.

【中文專書】

潘世姬。《電腦環境的均衡性音高結構理論》。臺北：輕潭企業有限公司，1996。

潘皇龍。《讓我們來欣賞現代音樂》。臺北：全音出版社，1999。

【期刊文章】

任真慧。〈探討史克里亞賓的音樂理念與實踐－以鋼琴作品為例〉。《關渡音樂學刊》
　，第2期（2004年12月）：153-176。

Bayley, Amanda. Bartók: String Quartet No.4/III A New Interpretative Approach.
Journal of Music Analysis, Vol.13, No. 2 (Oct). San Francisco: Wiley-Blackwell Press. 2000.

Babbitt, Milton. Some Aspects of Twelve-Tone Composition. The Score and I.M.A
Magazine.. London: Score Publ. Co. 1956.

Cohn, Richard. Inversional Symmetry and Transpositional Combination in Bartók.
Journal of Music Theory Spectrum , Vol.10, No. 2 (Autumn). California: University of California Press. 1988.

Hiller, Lejaren and Fuller, Ramon. Structure and Information in Webern’s Symphonie,
Op.21. Journal of Music Theory, Vol.11, No.1 (Spring), pp. 60-115. Duke University Press. 1967.

【作品樂譜】

Bartók, Béla. 14 Bagatelles, Op. 16. Mineola: Dover Publications, 1960.

Debussy, Claude. Préludes I. Paris: Durand, 1910.

Perle, George. Modal Suite. New York: Scott Music Corporation, 1940.

Schoenberg, Arnold. String Quartet No. 3. Vienna: Universal Edition, 1927.

Schoenberg, Arnold. Five Piano Pieces, Op. 23. Budapest: Edditio Musica, 1923.

Webern, Anton. Symphonie. Canada: Universal Edition, 1970.

【有聲資料】

Perle, George. Modal Suite. Michael Brown. Bridge Records 9426. CD. 2014.

【網路資源】

Perle, George. A Life in Music
http://www.georgeperle.net/ (accessed April 30, 2011).

【外文書目】

Aldwell, Edward. & Schachter, Carl. Harmony and Voice Leading. U.S.A.: Cengage
Learning Publishers, 1979.

Antokoletz , Elliot. The Music of Béla Bartók: A Study of Tonality and Progression in
Twentieth Century Music. California: University of California Press, 1984.

Blatter, Alfred. Instrumentation and Orchestration. U.S.A.: Wadsworth/Thomson
Learning 1997.

Dahlhaus, Carl. The New Grove Dictionary. U.S.A: Oxford University Press; 2nd
edition, 2004.

Forte ,Allen. The Structure of Atonal Music. New Haven: Yale University Press,
1977.

Morgan, Robert P. Anthology of Twentieth-Century Music. U.S.A.: W. W. Norton &
Company, Inc, 1992.

Perle, George. Twelve-Tone Tonality second edition. California: University of
California Press, 1996.

__________. Serial Composition and Atonality sixth edition, revised. California:
University of California Press. 1980.

Straus, Joseph N.. Introduction to Post-Tonal Theory. New York: Prentice Hall Press.
1990.

Schoenberg, Arnold. The Musical Ideal and Logic, Technique and Arts of its　
Presentation. Bloomington: Indiana University Press, 2006.

Wittlich, Gary E. Aspects of Twentieth-Century Music. New York: Prentice Hall Press.
1975.