Composition with Twelve Tones:
Formerly the use of the fundamental harmony had been theoretically regulated through recognition of the effects of root progressions. This practise had grown into a subconsciously functioning sense of form which gave a real composer an almost somnambulistic sense of security in creating, with utmost precision, the most delicate distinctions of formal elements.
Whether one calls oneself conservative or revolutionary, whether one composes in a conventional or progressive manner, whether one tries to imitate old styles or is destined to express new ideas – whether one is a good composer or not – one must be convinced of the infallibility of one's own fantasy and one must believe in one's own inspiration. Nevertheless, the desire for a conscious control of the new means and forms will arise in every artist's mind; and he will wish to know consciously the laws and rules which govern the forms which he has conceived "as in a dream." Strongly convincing as this dream may have been, the conviction that these new sounds obey the laws of nature and of our manner of thinking – the conviction that order, logic, comprehensibility and form cannot be present without obedience to such laws – forces the composer along the road of exploration. He must find, if not laws or rules, at least ways to justify the dissonant character of these harmonies and their successions.