All of which is not as farfetched as it may seem. As I read a long time ago, still at Tel Aviv University,
If a melody is written with traditional rhythmic configurations, it tends to retain its traditional character,
even when the note-patterns are derived from the series.

                         Reginald Smith Brindle, Serial Composition, ch.5, author's italics.

This I took as a promise that one may force dodecaphony into some recognizable form like a Romanze, by using the right rhythms. And that was supported by the evidence: my compositions with specified "tame rhythms" sound much better to me than those with  free rhythm.

Alas, not quite so simple. What Brindle meant, is that he can discover classical elements (emerging tonality, or oom-pa-pa, or false relations to the octave, or whatever) which for me are as imperceptible as ultrasounds.