We show that the twelve-tone rows of Arnold Schoenberg and Anton Webern are "anti-tonal"—that is, structured to avoid or undermine listener's tonal schemata. Compared to randomly generated rows, segments from Schoenberg's and Webern's rows have significantly lower fit to major and minor key profiles. The anti-tonal structure of Schoenberg's and Webern's rows is still evident when we statistically controlled for their preference for other row features such as mirror symmetry, derived and hexachordal structures, and preferences for certain intervals and trichords. The twelve-tone composer Alban Berg, by contrast, often wrote rows with segments that fit major or minor keys quite well.

中文翻译：

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维也纳十二音行中的音调和“反音调”认知结构

我们表明，阿诺德勋伯格和安东韦伯恩的十二音行是“反音调的”——也就是说，其结构是为了避免或破坏听者的音调图式。与随机生成的行相比，Schoenberg 行和 Webern 行的段与主要和次要关键配置文件的拟合度显着降低。当我们统计控制他们对镜像对称、派生和六弦结构以及对某些音程和三弦的偏好等其他行特征的偏好时，勋伯格和韦伯恩行的反调结构仍然很明显。相比之下，十二音作曲家阿尔班·伯格（Alban Berg）经常写出非常适合大调或小调的片段。