▁to ▁demonstrate ▁the ▁truth ▁of ▁this ▁assertion . ▁One ▁anal yst ▁concluded , ▁following ▁a ▁minute ▁exam ination ▁of ▁the ▁P iano ▁Vari ations , ▁op . ▁ 2 7 , ▁that ▁while ▁the ▁texture ▁of ▁this ▁music ▁may ▁super f icial ly ▁res emble ▁that ▁of ▁some ▁serial ▁music   ... ▁its ▁structure ▁does ▁not . ▁None ▁of ▁the ▁patterns ▁within ▁separate ▁non p itch ▁characteristics ▁makes ▁aud ible ▁( or ▁even ▁numerical ) ▁sense ▁in ▁itself . ▁The ▁point ▁is ▁that ▁these ▁characteristics ▁are ▁still ▁playing ▁their ▁traditional ▁role ▁of ▁different iation . ▁ ▁Tw elve - t one ▁technique , ▁combined ▁with ▁the ▁paramet riz ation ▁( separ ate ▁organization ▁of ▁four ▁aspects ▁of ▁music : ▁pitch , ▁attack ▁character , ▁intensity , ▁and ▁duration ) ▁of ▁Oliv ier ▁Mess ia en , ▁would ▁be ▁taken ▁as ▁the ▁insp iration ▁for ▁serial ism ▁. ▁ ▁A ton ality ▁emer ged ▁as ▁a ▁pe jor ative ▁term ▁to ▁condem n ▁music ▁in ▁which ▁ch ords ▁were ▁organized ▁seem ingly ▁with ▁no ▁apparent ▁coh er ence . ▁In ▁Naz i ▁Germany , ▁at onal ▁music ▁was ▁attacked ▁as ▁" B ols he vik " ▁and ▁l abeled ▁as ▁deg ener ate ▁( Ent art ete ▁Musik ) ▁along ▁with ▁other ▁music ▁produced ▁by ▁enemies ▁of ▁the ▁Naz i ▁regime . ▁Many ▁compos ers ▁had ▁their ▁works ▁b anned ▁by ▁the ▁regime , ▁not ▁to ▁be ▁played ▁until ▁after ▁its ▁collapse ▁at ▁the ▁end ▁of ▁World ▁War ▁II . ▁ ▁After ▁Sch o