To the best of my knowledge, no composer has made a specific attempt to develop a direct correspondence between the 20th century method and the ancient poetic model. Well, I have. Before showing you my first attempt at writing 12-tone haiku, I'll point out some of the thoughts which form the foundation of the composition below.
The basic 5-7-5 syllable pattern (though largely avoided by American poets), and the convention of presenting an unconnected yet related idea in the third group easily translate to the row, i.e. 5 notes + 7 notes = 12 notes or the presentation of the row. The 3rd group can then be easily derived from the row, and take on the same rhetorical function as the 3rd line of the poetic model.
Typically, haiku references time and place by use of symbolic natural elements, blooming flowers, bird species, temperature, etc. being obvious indications of season/geographical region. While such imagery can never be so explicit in music (a subject which borders on my own dissertation work), the potential for symbolic musical meaning is much more accessible/identifiable within a well-defined formal/stylistic paradigm. Thus, I can equate high frequency and rhythmic activity with the sensation of cold, and lower frequency with little rhythmic activity with warmth, under the context of the seasonal cycle.
Below are images of Haiku 4 the Seasons, written a few years ago. If you play piano, try them out. If you like them, play them for people and tell them where to find me. If you feel the need to spend money, you can buy them on coffee mugs and check out some of my drawings at www.rev63952.deviantart.com [end shameless plug]
Spring
Summer
Autumn
Winter
If for some strange reason you want to record them, go ahead. and send me a copy so i can shamelessly promote you as well...
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