This commentary provides two methodological expansions of von Hippel and Huron's (2020) empirical report on (anti-)tonality in twelve-tone rows by Arnold Schoenberg, Anton Webern, and Alban Berg. First, motivated by the theoretical importance of equality between all pitch classes in twelve-tone music, a full replication of their findings of "anti-tonality" in rows by Schoenberg and Webern is offered using a revised tonal fit measure which is not biased towards row-initial and row-final sub-segments. Second, motivated by a long-standing debate in music cognition research between distributional and sequential/dynamic tonality concepts, information-theoretic measures of entropy and information content are estimated by a computational model and pitted against distributional tonal fit measures. Whereas Schoenberg's rows are characterized by low distributional tonal fit, but do not strongly capitalize on tonal expectancy dynamics, Berg's rows exhibit tonal traits in terms of low unexpectedness, and Webern's rows achieve anti-tonal traits by combining high uncertainty and low unexpectedness through prominent use of the semitone interval. This analysis offers a complementary–and arguably more nuanced–picture of dodecaphonic compositional practice.

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反调十二音行的期望动态：von Hippel & Huron (2020) 的评论和再分析

本评论提供了 von Hippel 和 Huron (2020) 关于 Arnold Schoenberg、Anton Webern 和 Alban Berg 的十二音行中（反）调性的经验报告的两种方法扩展。首先，受十二音音乐中所有音级之间平等的理论重要性的推动，使用不偏向于row-initial 和 row-final 子段。其次，受音乐认知研究中分布和顺序/动态音调概念之间长期争论的推动，熵和信息内容的信息理论度量通过计算模型进行估计，并与分布音调拟合度量进行对比。而勋伯格 s 行的特点是分布色调拟合度低，但没有充分利用色调预期动态，Berg 的行在低意外性方面表现出色调特征，而 Webern 的行通过突出使用高不确定性和低意外性来实现反色调特征半音间隔。这种分析提供了一幅互补的——可以说是更细致入微的——十二音作曲实践的画面。