Twelve-Tone Music in America. (Music in the Twentieth Century)

[...] the composition chapter has eight myths (under seven subheadings), the history chapter has six, and the reception chapter also has six, for a grand total of twenty myths to be debunked.\n The subsection on the "myth of serial tyranny" further betrays the limitations of Straus's methods. Contextualization suggests a broader sociocultural, historical overview of twelvetone serial practices, encompassing composers, performers, listeners, patrons, institutions, venues, and technology, along with the perceived and received values and meanings attributed to serialism by historical actors, not just those values scholars such as Straus attribute to serialism, or fervently wish were more broadly accepted.