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id="toc-Basic_definitions-sublist" class="vector-toc-list"> <li id="toc-Twelve-tone_serialism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Twelve-tone_serialism"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Twelve-tone serialism</span> </div> </a> <ul id="toc-Twelve-tone_serialism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Non-twelve-tone_serialism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Non-twelve-tone_serialism"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>Non-twelve-tone serialism</span> </div> </a> <ul id="toc-Non-twelve-tone_serialism-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-History_of_serial_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#History_of_serial_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>History of serial music</span> </div> </a> <button aria-controls="toc-History_of_serial_music-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle History of serial music subsection</span> </button> <ul id="toc-History_of_serial_music-sublist" class="vector-toc-list"> <li id="toc-Before_World_War_II" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Before_World_War_II"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Before World War II</span> </div> </a> <ul id="toc-Before_World_War_II-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-After_World_War_II" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#After_World_War_II"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>After World War II</span> </div> </a> <ul id="toc-After_World_War_II-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Reactions_to_serialism" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Reactions_to_serialism"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Reactions to serialism</span> </div> </a> <ul id="toc-Reactions_to_serialism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Theory_of_twelve-tone_serial_music" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Theory_of_twelve-tone_serial_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Theory of twelve-tone serial music</span> </div> </a> <ul id="toc-Theory_of_twelve-tone_serial_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notable_composers" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notable_composers"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Notable composers</span> </div> </a> <ul id="toc-Notable_composers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>References</span> </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle References subsection</span> </button> <ul id="toc-References-sublist" class="vector-toc-list"> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> <span class="vector-toc-numb">7.1</span> <span>Sources</span> </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span 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Available in 38 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-38" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">38 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar badge-Q70894304 mw-list-item" title=""><a href="https://ar.wikipedia.org/wiki/%D8%B3%D9%8A%D8%B1%D9%8A%D8%A7%D9%84%D9%8A%D8%B2%D9%85" title="سيرياليزم – Arabic" lang="ar" hreflang="ar" data-title="سيرياليزم" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Serialismu" title="Serialismu – Asturian" lang="ast" hreflang="ast" data-title="Serialismu" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Serialisme" title="Serialisme – Catalan" lang="ca" hreflang="ca" data-title="Serialisme" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Serialismus" title="Serialismus – Czech" lang="cs" hreflang="cs" data-title="Serialismus" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Serialisme" title="Serialisme – Danish" lang="da" hreflang="da" data-title="Serialisme" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Serielle_Musik" title="Serielle Musik – German" lang="de" hreflang="de" data-title="Serielle Musik" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Seriaalne_muusika" title="Seriaalne muusika – Estonian" lang="et" hreflang="et" data-title="Seriaalne muusika" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Serialismo" title="Serialismo – Spanish" lang="es" hreflang="es" data-title="Serialismo" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Seria_muziko" title="Seria muziko – Esperanto" lang="eo" hreflang="eo" data-title="Seria muziko" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Serialismo" title="Serialismo – Basque" lang="eu" hreflang="eu" data-title="Serialismo" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B3%D8%B1%DB%8C%D8%A7%D9%84%DB%8C%D8%B3%D9%85" title="سریالیسم – Persian" lang="fa" hreflang="fa" data-title="سریالیسم" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Musique_s%C3%A9rielle" title="Musique sérielle – French" lang="fr" hreflang="fr" data-title="Musique sérielle" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Serialismo" title="Serialismo – Galician" lang="gl" hreflang="gl" data-title="Serialismo" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%9D%8C%EB%A0%AC%EC%A3%BC%EC%9D%98" title="음렬주의 – Korean" lang="ko" hreflang="ko" data-title="음렬주의" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%8D%D5%A5%D6%80%D5%AB%D5%A1%D5%AF%D5%A1%D5%B6_%D5%A5%D6%80%D5%A1%D5%AA%D5%B7%D5%BF%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Սերիական երաժշտություն – Armenian" lang="hy" hreflang="hy" data-title="Սերիական երաժշտություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Serijalizam" title="Serijalizam – Croatian" lang="hr" hreflang="hr" data-title="Serijalizam" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Serialismo" title="Serialismo – Italian" lang="it" hreflang="it" data-title="Serialismo" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A1%D7%A8%D7%99%D7%90%D7%9C%D7%99%D7%96%D7%9D" title="סריאליזם – Hebrew" lang="he" hreflang="he" data-title="סריאליזם" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%A1%E1%83%94%E1%83%A0%E1%83%98%E1%83%90%E1%83%9A%E1%83%98%E1%83%96%E1%83%9B%E1%83%98" title="სერიალიზმი – Georgian" lang="ka" hreflang="ka" data-title="სერიალიზმი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target"><span>ქართული</span></a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Serialismus" title="Serialismus – Latin" lang="la" hreflang="la" data-title="Serialismus" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Seri%C4%81l%C4%81_m%C5%ABzika" title="Seriālā mūzika – Latvian" lang="lv" hreflang="lv" data-title="Seriālā mūzika" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target"><span>Latviešu</span></a></li><li class="interlanguage-link interwiki-li mw-list-item"><a href="https://li.wikipedia.org/wiki/Serialisme" title="Serialisme – Limburgish" lang="li" hreflang="li" data-title="Serialisme" data-language-autonym="Limburgs" data-language-local-name="Limburgish" class="interlanguage-link-target"><span>Limburgs</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Szeri%C3%A1lis_zene" title="Szeriális zene – Hungarian" lang="hu" hreflang="hu" data-title="Szeriális zene" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A1%D0%B5%D1%80%D0%B8%D1%98%D0%B0%D0%BB%D0%B8%D0%B7%D0%B0%D0%BC" title="Серијализам – Macedonian" lang="mk" hreflang="mk" data-title="Серијализам" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Serialisme" title="Serialisme – Dutch" lang="nl" hreflang="nl" data-title="Serialisme" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%BB%E3%83%AA%E3%82%A8%E3%83%AB%E9%9F%B3%E6%A5%BD" title="セリエル音楽 – Japanese" lang="ja" hreflang="ja" data-title="セリエル音楽" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Serialisme" title="Serialisme – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Serialisme" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Musica_seriala" title="Musica seriala – Occitan" lang="oc" hreflang="oc" data-title="Musica seriala" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Serializm" title="Serializm – Polish" lang="pl" hreflang="pl" data-title="Serializm" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Serialismo" title="Serialismo – Portuguese" lang="pt" hreflang="pt" data-title="Serialismo" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Muzic%C4%83_serial%C4%83" title="Muzică serială – Romanian" lang="ro" hreflang="ro" data-title="Muzică serială" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A1%D0%B5%D1%80%D0%B8%D0%B0%D0%BB%D0%B8%D0%B7%D0%BC" title="Сериализм – Russian" lang="ru" hreflang="ru" data-title="Сериализм" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Serialism" title="Serialism – Simple English" lang="en-simple" hreflang="en-simple" data-title="Serialism" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Serijalizam" title="Serijalizam – Serbian" lang="sr" hreflang="sr" data-title="Serijalizam" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Sarjallisuus" title="Sarjallisuus – Finnish" lang="fi" hreflang="fi" data-title="Sarjallisuus" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Seriell_musik" title="Seriell musik – Swedish" lang="sv" hreflang="sv" data-title="Seriell musik" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A1%D0%B5%D1%80%D1%96%D0%B0%D0%BB%D1%96%D0%B7%D0%BC" title="Серіалізм – Ukrainian" lang="uk" hreflang="uk" data-title="Серіалізм" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%BA%8F%E5%88%97%E4%B8%BB%E4%B9%89" title="序列主义 – Chinese" lang="zh" hreflang="zh" data-title="序列主义" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q507246#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div 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div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the theory of dreams and time, see <a href="/wiki/Serialism_(philosophy)" class="mw-redirect" title="Serialism (philosophy)">Serialism (philosophy)</a>.</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Nono_-_Variazioni_canoniche,_rhythmic_values_row.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/3/31/Nono_-_Variazioni_canoniche%2C_rhythmic_values_row.png" decoding="async" width="273" height="81" class="mw-file-element" data-file-width="273" data-file-height="81" /></a><figcaption>Six-element <a href="/wiki/Set_(music)" title="Set (music)">row</a> of rhythmic values used in <i>Variazioni canoniche</i> by <a href="/wiki/Luigi_Nono" title="Luigi Nono">Luigi Nono</a>.<sup id="cite_ref-FOOTNOTEWhittall2008165_1-0" class="reference"><a href="#cite_note-FOOTNOTEWhittall2008165-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p>In music, <b>serialism</b> is a method of <a href="/wiki/Musical_composition" title="Musical composition">composition</a> using series of pitches, rhythms, dynamics, timbres or other <a href="/wiki/Elements_of_music" title="Elements of music">musical elements</a>. Serialism began primarily with <a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a>'s <a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">twelve-tone technique</a>, though some of his contemporaries were also working to establish serialism as a form of <a href="/wiki/Atonality" title="Atonality">post-tonal</a> thinking. Twelve-tone technique orders the twelve notes of the <a href="/wiki/Chromatic_scale" title="Chromatic scale">chromatic scale</a>, forming a <a href="/wiki/Tone_row" title="Tone row">row</a> or series and providing a unifying basis for a composition's <a href="/wiki/Melody" title="Melody">melody</a>, <a href="/wiki/Harmony" title="Harmony">harmony</a>, structural progressions, and <a href="/wiki/Variation_(music)" title="Variation (music)">variations</a>. Other types of serialism also work with <a href="/wiki/Set_(music)" title="Set (music)">sets</a>, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "<a href="/wiki/Parameter_(music)" class="mw-redirect" title="Parameter (music)">parameters</a>"), such as <a href="/wiki/Duration_(music)" title="Duration (music)">duration</a>, <a href="/wiki/Dynamics_(music)" title="Dynamics (music)">dynamics</a>, and <a href="/wiki/Timbre" title="Timbre">timbre</a>. </p><p>The idea of serialism is also applied in various ways in the <a href="/wiki/Visual_arts" title="Visual arts">visual arts</a>, <a href="/wiki/Design" title="Design">design</a>, and <a href="/wiki/Architecture" title="Architecture">architecture</a>,<sup id="cite_ref-FOOTNOTEBandur20015,_12,_74_2-0" class="reference"><a href="#cite_note-FOOTNOTEBandur20015,_12,_74-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGerstner1964passim_3-0" class="reference"><a href="#cite_note-FOOTNOTEGerstner1964passim-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> and the musical concept has also been adapted in literature.<sup id="cite_ref-FOOTNOTECollot200881_4-0" class="reference"><a href="#cite_note-FOOTNOTECollot200881-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTELeray2008217–219_5-0" class="reference"><a href="#cite_note-FOOTNOTELeray2008217–219-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWaelti-Walters199237,_64,_81,_95_6-0" class="reference"><a href="#cite_note-FOOTNOTEWaelti-Walters199237,_64,_81,_95-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p><b>Integral serialism</b> or <b>total serialism</b> is the use of series for aspects such as duration, dynamics, and register as well as pitch.<sup id="cite_ref-FOOTNOTEWhittall2008273_7-0" class="reference"><a href="#cite_note-FOOTNOTEWhittall2008273-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Other terms, used especially in Europe to distinguish post-World War II serial music from twelve-tone music and its American extensions, are <b>general serialism</b> and <b>multiple serialism</b>.<sup id="cite_ref-FOOTNOTEGrant20015–6_8-0" class="reference"><a href="#cite_note-FOOTNOTEGrant20015–6-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>Composers such as <a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a>, <a href="/wiki/Anton_Webern" title="Anton Webern">Anton Webern</a>, <a href="/wiki/Alban_Berg" title="Alban Berg">Alban Berg</a>, <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>, <a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a>, <a href="/wiki/Luigi_Nono" title="Luigi Nono">Luigi Nono</a>, <a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a>, <a href="/wiki/Elisabeth_Lutyens" title="Elisabeth Lutyens">Elisabeth Lutyens</a>, <a href="/wiki/Henri_Pousseur" title="Henri Pousseur">Henri Pousseur</a>, <a href="/wiki/Charles_Wuorinen" title="Charles Wuorinen">Charles Wuorinen</a> and <a href="/wiki/Jean_Barraqu%C3%A9" title="Jean Barraqué">Jean Barraqué</a> used serial techniques of one sort or another in most of their music. Other composers such as <a href="/wiki/Tadeusz_Baird" title="Tadeusz Baird">Tadeusz Baird</a>, <a href="/wiki/B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Béla Bartók</a>, <a href="/wiki/Luciano_Berio" title="Luciano Berio">Luciano Berio</a>, <a href="/wiki/Bruno_Maderna" title="Bruno Maderna">Bruno Maderna</a>, <a href="/wiki/Franco_Donatoni" title="Franco Donatoni">Franco Donatoni</a>, <a href="/wiki/Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a>, <a href="/wiki/John_Cage" title="John Cage">John Cage</a>, <a href="/wiki/Aaron_Copland" title="Aaron Copland">Aaron Copland</a>, <a href="/wiki/Ernst_Krenek" title="Ernst Krenek">Ernst Krenek</a>, <a href="/wiki/Gy%C3%B6rgy_Ligeti" title="György Ligeti">György Ligeti</a>, <a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a>, <a href="/wiki/Arvo_P%C3%A4rt" title="Arvo Pärt">Arvo Pärt</a>, <a href="/wiki/Walter_Piston" title="Walter Piston">Walter Piston</a>, <a href="/wiki/Ned_Rorem" title="Ned Rorem">Ned Rorem</a>, <a href="/wiki/Alfred_Schnittke" title="Alfred Schnittke">Alfred Schnittke</a>, <a href="/wiki/Ruth_Crawford_Seeger" title="Ruth Crawford Seeger">Ruth Crawford Seeger</a>, <a href="/wiki/Dmitri_Shostakovich" title="Dmitri Shostakovich">Dmitri Shostakovich</a>, and <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a> used serialism only in some of their compositions or only in some sections of pieces, as did some <a href="/wiki/Jazz" title="Jazz">jazz</a> composers, such as <a href="/wiki/Bill_Evans" title="Bill Evans">Bill Evans</a>, <a href="/wiki/Yusef_Lateef" title="Yusef Lateef">Yusef Lateef</a>, <a href="/wiki/Bill_Smith_(jazz_musician)" title="Bill Smith (jazz musician)">Bill Smith</a>, and even rock musicians like <a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Basic_definitions">Basic definitions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=1" title="Edit section: Basic definitions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Serialism is a method,<sup id="cite_ref-FOOTNOTEGriffiths2001116_9-0" class="reference"><a href="#cite_note-FOOTNOTEGriffiths2001116-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> "highly specialized technique",<sup id="cite_ref-FOOTNOTEWörner1973196_10-0" class="reference"><a href="#cite_note-FOOTNOTEWörner1973196-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> or "way"<sup id="cite_ref-FOOTNOTEWhittall20081_11-0" class="reference"><a href="#cite_note-FOOTNOTEWhittall20081-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> of <a href="/wiki/Musical_composition#Composing_music" title="Musical composition">composition</a>. It may also be considered "a philosophy of life (<i><a href="/wiki/Worldview" title="Worldview">Weltanschauung</a></i>), a way of relating the human mind to the world and creating a completeness when dealing with a subject".<sup id="cite_ref-FOOTNOTEBandur20015_12-0" class="reference"><a href="#cite_note-FOOTNOTEBandur20015-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Serialism is not by itself a system of composition or a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing <a href="/wiki/Atonality" title="Atonality">atonal music</a>.<sup id="cite_ref-FOOTNOTEGriffiths2001116_9-1" class="reference"><a href="#cite_note-FOOTNOTEGriffiths2001116-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>"Serial music" is a problematic term because it is used differently in different languages and especially because, shortly after its coinage in French, it underwent essential alterations during its transmission to German.<sup id="cite_ref-FOOTNOTEFrisius19981327_13-0" class="reference"><a href="#cite_note-FOOTNOTEFrisius19981327-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> The term's use in connection with music was first introduced in French by <a href="/wiki/Ren%C3%A9_Leibowitz" title="René Leibowitz">René Leibowitz</a> in 1947,<sup id="cite_ref-FOOTNOTELeibowitz1947_14-0" class="reference"><a href="#cite_note-FOOTNOTELeibowitz1947-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> and immediately afterward by <a href="/wiki/Humphrey_Searle" title="Humphrey Searle">Humphrey Searle</a> in English, as an alternative translation of the German <span title="German-language text"><i lang="de">Zwölftontechnik</i></span> (<a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">twelve-tone technique</a>) or <span title="German-language text"><i lang="de">Reihenmusik</i></span> (row music); it was independently introduced by Stockhausen and <a href="/wiki/Herbert_Eimert" title="Herbert Eimert">Herbert Eimert</a> into German in 1955 as <span title="German-language text"><i lang="de">serielle Musik</i></span>, with a different meaning,<sup id="cite_ref-FOOTNOTEFrisius19981327_13-1" class="reference"><a href="#cite_note-FOOTNOTEFrisius19981327-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> but also translated as "serial music". </p> <div class="mw-heading mw-heading3"><h3 id="Twelve-tone_serialism">Twelve-tone serialism</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=2" title="Edit section: Twelve-tone serialism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Serialism of the first type is most specifically defined as a structural principle according to which a recurring series of ordered elements (normally a <a href="/wiki/Set_(music)" title="Set (music)">set</a>—or <a href="/wiki/Tone_row" title="Tone row">row</a>—of pitches or <a href="/wiki/Pitch_class" title="Pitch class">pitch classes</a>) is used in order or manipulated in particular ways to give a piece unity. "Serial" is often broadly used to describe all music written in what Schoenberg called "The Method of Composing with Twelve Notes related only to one another",<sup id="cite_ref-FOOTNOTESchoenberg1975218_15-0" class="reference"><a href="#cite_note-FOOTNOTESchoenberg1975218-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEAnon.2008_16-0" class="reference"><a href="#cite_note-FOOTNOTEAnon.2008-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> or <a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">dodecaphony</a>, and methods that evolved from his methods. It is sometimes used more specifically to apply only to music in which at least one element other than pitch is treated as a row or series. Such methods are often called <i>post-Webernian serialism</i>. Other terms used to make the distinction are <i>twelve-note serialism</i> for the former and <i>integral serialism</i> for the latter.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>A row may be assembled pre-compositionally (perhaps to embody particular intervallic or symmetrical properties), or derived from a spontaneously invented thematic or motivic idea. The row's structure does not in itself define the structure of a composition, which requires development of a comprehensive strategy. The choice of strategy often depends on the relationships contained in a row class, and rows may be constructed with an eye to producing the relationships needed to form desired strategies.<sup id="cite_ref-FOOTNOTEMead1985129–130_18-0" class="reference"><a href="#cite_note-FOOTNOTEMead1985129–130-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>The basic set may have additional restrictions, such as the requirement that it use each <a href="/wiki/Interval_(music)" title="Interval (music)">interval</a> only once.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading3"><h3 id="Non-twelve-tone_serialism">Non-twelve-tone serialism</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=3" title="Edit section: Non-twelve-tone serialism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>"The series is not an order of succession, but indeed a hierarchy—which may be independent of this order of succession".<sup id="cite_ref-FOOTNOTEBoulez195418_19-0" class="reference"><a href="#cite_note-FOOTNOTEBoulez195418-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGriffiths197837_20-0" class="reference"><a href="#cite_note-FOOTNOTEGriffiths197837-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p> Rules of analysis derived from twelve-tone theory do not apply to serialism of the second type: "in particular the ideas, one, that the series is an intervallic sequence, and two, that the rules are consistent".<sup id="cite_ref-FOOTNOTEMaconie2005119_21-0" class="reference"><a href="#cite_note-FOOTNOTEMaconie2005119-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> For example, Stockhausen's early serial works, such as <i><a href="/wiki/Kreuzspiel" title="Kreuzspiel">Kreuzspiel</a></i> and <i><a href="/wiki/Formel_(Stockhausen)" title="Formel (Stockhausen)">Formel</a></i>, "advance in unit sections within which a preordained set of pitches is repeatedly reconfigured ... The composer's model for the distributive serial process corresponds to a development of the Zwölftonspiel of Josef Matthias Hauer".<sup id="cite_ref-FOOTNOTEMaconie200556_22-0" class="reference"><a href="#cite_note-FOOTNOTEMaconie200556-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Goeyvaerts's <i>Nummer 4</i> </p><blockquote><p>provides a classic illustration of the distributive function of seriality: 4 times an equal number of elements of equal duration within an equal global time is distributed in the most equable way, unequally with regard to one another, over the temporal space: from the greatest possible coïncidence to the greatest possible dispersion. This provides an exemplary demonstration of that logical principle of seriality: <i>every situation must occur once and only once</i>.<sup id="cite_ref-FOOTNOTESabbe1977114_23-0" class="reference"><a href="#cite_note-FOOTNOTESabbe1977114-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup></p></blockquote> <p><a href="/wiki/Henri_Pousseur" title="Henri Pousseur">Henri Pousseur</a>, after initially working with twelve-tone technique in works like <i>Sept Versets</i> (1950) and <i>Trois Chants sacrés</i> (1951),</p><blockquote><p>evolved away from this bond in <i>Symphonies pour quinze Solistes</i> [1954–55] and in the <i>Quintette</i> [<i>à la mémoire d’Anton Webern</i>, 1955], and from around the time of <i>Impromptu</i> [1955] encounters whole new dimensions of application and new functions.</p></blockquote> <blockquote><p>The twelve-tone series loses its imperative function as a prohibiting, regulating, and patterning authority; its working-out is abandoned through its own constant-frequent presence: all 66 intervallic relations among the 12 pitches being virtually present. Prohibited intervals, like the octave, and prohibited successional relations, such as premature note repetitions, frequently occur, although obscured in the dense contexture. The number twelve no longer plays any governing, defining rôle; the pitch constellations no longer hold to the limitation determined by their formation. The dodecaphonic series loses its significance as a concrete model of shape (or a well-defined collection of concrete shapes) is played out. And the chromatic total remains active only, and provisionally, as a general reference.<sup id="cite_ref-FOOTNOTESabbe1977264_24-0" class="reference"><a href="#cite_note-FOOTNOTESabbe1977264-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>In the 1960s Pousseur took this a step further, applying a consistent set of predefined transformations to preexisting music. One example is the large orchestral work <i>Couleurs croisées</i> (<i>Crossed Colours</i>, 1967), which performs these transformations on the protest song "<a href="/wiki/We_Shall_Overcome" title="We Shall Overcome">We Shall Overcome</a>", creating a succession of different situations that are sometimes chromatic and dissonant and sometimes diatonic and consonant.<sup id="cite_ref-FOOTNOTELocanto2010157_25-0" class="reference"><a href="#cite_note-FOOTNOTELocanto2010157-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> In his opera <i><a href="/wiki/Votre_Faust" title="Votre Faust">Votre Faust</a></i> (<i>Your Faust</i>, 1960–68) Pousseur used many quotations, themselves arranged into a "scale" for serial treatment. This "generalised" serialism (in the strongest possible sense) aims not to exclude any musical phenomena, no matter how heterogeneous, in order "to control the effects of tonal determinism, dialectize its causal functions, and overcome any academic prohibitions, especially the fixing of an anti-grammar meant to replace some previous one".<sup id="cite_ref-FOOTNOTEBosseur198960–61_26-0" class="reference"><a href="#cite_note-FOOTNOTEBosseur198960–61-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>At about the same time, Stockhausen began using serial methods to integrate a variety of musical sources from recorded examples of folk and traditional music from around the world in his electronic composition <i><a href="/wiki/Telemusik" title="Telemusik">Telemusik</a></i> (1966), and from <a href="/wiki/National_anthem" title="National anthem">national anthems</a> in <i><a href="/wiki/Hymnen" title="Hymnen">Hymnen</a></i> (1966–67). He extended this serial "polyphony of styles" in a series of "process-plan" works in the late 1960s, as well as later in portions of <i><a href="/wiki/Licht" title="Licht">Licht</a></i>, the cycle of seven operas he composed between 1977 and 2003.<sup id="cite_ref-FOOTNOTEKohl200297_et_passim_27-0" class="reference"><a href="#cite_note-FOOTNOTEKohl200297_et_passim-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="History_of_serial_music">History of serial music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=4" title="Edit section: History of serial music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Before_World_War_II">Before World War II</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=5" title="Edit section: Before World War II"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a></div> <p>In the late 19th and early 20th century, composers began to struggle against the ordered system of chords and intervals known as "functional <a href="/wiki/Tonality" title="Tonality">tonality</a>". Composers such as Debussy and Strauss found ways to stretch the limits of the tonal system to accommodate their ideas. After a brief period of free atonality, Schoenberg and others began exploring tone rows, in which an ordering of the 12 pitches of the equal-tempered chromatic scale is used as the source material of a composition. This ordered set, often called a row, allowed for new forms of expression and (unlike free atonality) the expansion of underlying structural organizing principles without recourse to common practice harmony.<sup id="cite_ref-FOOTNOTEDelahoyden.d._28-0" class="reference"><a href="#cite_note-FOOTNOTEDelahoyden.d.-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>Twelve-tone serialism first appeared in the 1920s, with antecedents predating that decade (instances of 12-note passages occur in Liszt's <i><a href="/wiki/Faust_Symphony" title="Faust Symphony">Faust Symphony</a></i><sup id="cite_ref-FOOTNOTEWalker1986[[Category:Wikipedia_articles_needing_page_number_citations_from_September_2014]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(September_2014)">page&nbsp;needed</span>]]</i>&#93;</sup>_29-0" class="reference"><a href="#cite_note-FOOTNOTEWalker1986[[Category:Wikipedia_articles_needing_page_number_citations_from_September_2014]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(September_2014)">page&nbsp;needed</span>]]</i>&#93;</sup>-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> and in Bach.<sup id="cite_ref-FOOTNOTECope1971[[Category:Wikipedia_articles_needing_page_number_citations_from_September_2014]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(September_2014)">page&nbsp;needed</span>]]</i>&#93;</sup>_30-0" class="reference"><a href="#cite_note-FOOTNOTECope1971[[Category:Wikipedia_articles_needing_page_number_citations_from_September_2014]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(September_2014)">page&nbsp;needed</span>]]</i>&#93;</sup>-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup>) Schoenberg was the composer most decisively involved in devising and demonstrating the fundamentals of twelve-tone serialism, though it is clear it is not the work of just one musician.<sup id="cite_ref-FOOTNOTEWhittall20081_11-1" class="reference"><a href="#cite_note-FOOTNOTEWhittall20081-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> In Schoenberg's own words, his goal of <span title="French-language text"><i lang="fr">l'invention contrariée</i></span> was to show constraint in composition.<sup id="cite_ref-FOOTNOTEMoore199577_31-0" class="reference"><a href="#cite_note-FOOTNOTEMoore199577-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Consequently, some reviewers have jumped to the conclusion that serialism acted as a predetermined method of composing to avoid the subjectivity and ego of a composer in favor of calculated measure and proportion.<sup id="cite_ref-FOOTNOTEGranade2015_32-0" class="reference"><a href="#cite_note-FOOTNOTEGranade2015-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> In the 1930s, serial composers such as Schoenberg, Krenek, Wolpe, and Eisler left Europe for the U.S. to escape World War II. This sparked a change in American music as well as the works of the European composers now residing in the U.S.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="After_World_War_II">After World War II</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=6" title="Edit section: After World War II"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Darmstadt_School" title="Darmstadt School">Darmstadt School</a></div> <p>Along with <a href="/wiki/John_Cage" title="John Cage">John Cage</a>'s <a href="/wiki/Indeterminate_music" class="mw-redirect" title="Indeterminate music">indeterminate music</a> (music composed with the use of chance operations) and <a href="/wiki/Werner_Meyer-Eppler" title="Werner Meyer-Eppler">Werner Meyer-Eppler</a>'s <a href="/wiki/Aleatoric_music" title="Aleatoric music">aleatoricism</a>, serialism was enormously influential in postwar music. Theorists such as <a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a> and <a href="/wiki/George_Perle" title="George Perle">George Perle</a> codified serial systems, leading to a mode of composition called "total serialism", in which every aspect of a piece, not just pitch, is serially constructed.<sup id="cite_ref-FOOTNOTEBall201124–41_34-0" class="reference"><a href="#cite_note-FOOTNOTEBall201124–41-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> Perle's 1962 text <i>Serial Composition and Atonality</i> became a standard work on the origins of serial composition in the music of Schoenberg, Berg, and Webern.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>The serialization of <a href="/wiki/Rhythm" title="Rhythm">rhythm</a>, <a href="/wiki/Dynamics_(music)" title="Dynamics (music)">dynamics</a>, and other elements of music was partly fostered by the work of Olivier Messiaen and his analysis students, including <a href="/wiki/Karel_Goeyvaerts" title="Karel Goeyvaerts">Karel Goeyvaerts</a> and Boulez, in postwar <a href="/wiki/Paris" title="Paris">Paris</a>. Messiaen first used a chromatic rhythm scale in his <i><a href="/wiki/Vingt_Regards_sur_l%27enfant-J%C3%A9sus" title="Vingt Regards sur l'enfant-Jésus">Vingt Regards sur l'enfant-Jésus</a></i> (1944), but he did not employ a rhythmic series until 1946–48, in the seventh movement, "Turangalîla II", of his <i><a href="/wiki/Turangal%C3%AEla-Symphonie" title="Turangalîla-Symphonie">Turangalîla-Symphonie</a></i>.<sup id="cite_ref-FOOTNOTESherlaw_Johnson198994_35-0" class="reference"><a href="#cite_note-FOOTNOTESherlaw_Johnson198994-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> The first examples of such integral serialism are Babbitt's <i>Three Compositions for Piano</i> (1947), <i><a href="/wiki/Composition_for_Four_Instruments" title="Composition for Four Instruments">Composition for Four Instruments</a></i> (1948), and <i><a href="/wiki/Composition_for_Twelve_Instruments" title="Composition for Twelve Instruments">Composition for Twelve Instruments</a></i> (1948).<sup id="cite_ref-FOOTNOTEWhittall2008_36-0" class="reference"><a href="#cite_note-FOOTNOTEWhittall2008-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEMead1985_37-0" class="reference"><a href="#cite_note-FOOTNOTEMead1985-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> He worked independently of the Europeans.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Messiaen_-_Mode_de_valeurs_et_d%27intensites_series_upper_line_--_Boulez_-_Structures_Ia.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/f/fd/Messiaen_-_Mode_de_valeurs_et_d%27intensites_series_upper_line_--_Boulez_-_Structures_Ia.png/400px-Messiaen_-_Mode_de_valeurs_et_d%27intensites_series_upper_line_--_Boulez_-_Structures_Ia.png" decoding="async" width="400" height="74" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/f/fd/Messiaen_-_Mode_de_valeurs_et_d%27intensites_series_upper_line_--_Boulez_-_Structures_Ia.png 1.5x" data-file-width="505" data-file-height="94" /></a><figcaption>Olivier Messiaen's unordered series for pitch, duration, dynamics, and articulation from the pre-serial <i><a href="/wiki/Quatre_%C3%A9tudes_de_rythme#"Mode_de_valeurs_et_d'intensités"" class="mw-redirect" title="Quatre études de rythme">Mode de valeurs et d'intensités</a></i>, upper division only—which Pierre Boulez adapted as an ordered row for his <i><a href="/wiki/Structures_I" class="mw-redirect" title="Structures I">Structures I</a></i>.<sup id="cite_ref-FOOTNOTEWhittall2008178_38-0" class="reference"><a href="#cite_note-FOOTNOTEWhittall2008178-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p>Several of the composers associated with Darmstadt, notably Stockhausen, Goeyvaerts, and Pousseur, developed a form of serialism that initially rejected the recurring rows characteristic of twelve-tone technique in order to eradicate any lingering traces of <a href="/wiki/Theme_(music)" class="mw-redirect" title="Theme (music)">thematicism</a>.<sup id="cite_ref-FOOTNOTEFelder197792_39-0" class="reference"><a href="#cite_note-FOOTNOTEFelder197792-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> Instead of a recurring, referential row, "each musical component is subjected to control by a series of numerical proportions".<sup id="cite_ref-FOOTNOTEMorgan19753_40-0" class="reference"><a href="#cite_note-FOOTNOTEMorgan19753-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> In Europe, some serial and non-serial music of the early 1950s emphasized the determination of all parameters for each note independently, often resulting in widely spaced, isolated "points" of sound, an effect called first in German "<a href="/wiki/Punctualism" title="Punctualism">punktuelle</a> Musik" ("pointist" or "punctual music"), then in French "musique ponctuelle", but quickly confused with "<a href="/wiki/Pointillism" title="Pointillism">pointillistic</a>" (German "pointillistische", French "pointilliste"), the term associated with the densely packed dots in <a href="/wiki/Seurat" class="mw-redirect" title="Seurat">Seurat</a>'s paintings, even though the concept was unrelated.<sup id="cite_ref-FOOTNOTEStockhausen_and_Frisius1998451_41-0" class="reference"><a href="#cite_note-FOOTNOTEStockhausen_and_Frisius1998451-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p><p>Pieces were structured by closed sets of proportions, a method closely related to certain works from the <a href="/wiki/De_Stijl" title="De Stijl">de Stijl</a> and <a href="/wiki/Bauhaus" title="Bauhaus">Bauhaus</a> movements in design and architecture some writers called "<a href="/wiki/Serial_art" title="Serial art">serial art</a>",<sup id="cite_ref-FOOTNOTEBochner1967_42-0" class="reference"><a href="#cite_note-FOOTNOTEBochner1967-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGerstner1964_43-0" class="reference"><a href="#cite_note-FOOTNOTEGerstner1964-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGuderian1985_44-0" class="reference"><a href="#cite_note-FOOTNOTEGuderian1985-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTESykora1983_45-0" class="reference"><a href="#cite_note-FOOTNOTESykora1983-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> specifically the paintings of <a href="/wiki/Piet_Mondrian" title="Piet Mondrian">Piet Mondrian</a>, <a href="/wiki/Theo_van_Doesburg" title="Theo van Doesburg">Theo van Doesburg</a>, Bart van Leck, Georg van Tongerloo, Richard Paul Lohse, and <a href="/wiki/Burgoyne_Diller" title="Burgoyne Diller">Burgoyne Diller</a>, who had sought to "avoid repetition and symmetry on all structural levels and working with a limited number of elements".<sup id="cite_ref-FOOTNOTEBandur200154_46-0" class="reference"><a href="#cite_note-FOOTNOTEBandur200154-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p><p> Stockhausen described the final synthesis in this manner:</p><blockquote><p>So serial thinking is something that's come into our consciousness and will be there forever: it's relativity and nothing else. It just says: Use all the components of any given number of elements, don't leave out individual elements, use them all with equal importance and try to find an equidistant scale so that certain steps are no larger than others. It's a spiritual and democratic attitude toward the world. The stars are organized in a serial way. Whenever you look at a certain star sign you find a limited number of elements with different intervals. If we more thoroughly studied the distances and proportions of the stars we'd probably find certain relationships of multiples based on some logarithmic scale or whatever the scale may be.<sup id="cite_ref-FOOTNOTECott1973101_47-0" class="reference"><a href="#cite_note-FOOTNOTECott1973101-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>Stravinsky's adoption of twelve-tone serial techniques shows the level of influence serialism had after the Second World War. Previously Stravinsky had used series of notes without rhythmic or harmonic implications.<sup id="cite_ref-FOOTNOTEShatzkin1977_48-0" class="reference"><a href="#cite_note-FOOTNOTEShatzkin1977-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> Because many of the basic techniques of serial composition have analogs in traditional counterpoint, uses of <a href="/wiki/Melodic_inversion" class="mw-redirect" title="Melodic inversion">inversion</a>, <a href="/wiki/Retrograde_(music)" title="Retrograde (music)">retrograde</a>, and <a href="/wiki/Retrograde_inversion" title="Retrograde inversion">retrograde inversion</a> from before the war do not necessarily indicate Stravinsky was adopting Schoenbergian techniques. But after meeting <a href="/wiki/Robert_Craft" title="Robert Craft">Robert Craft</a> and other younger composers, Stravinsky began to study Schoenberg's music, as well as that of Webern and later composers, and to adapt their techniques in his work, using, for example, serial techniques applied to fewer than twelve notes. During the 1950s he used procedures related to Messiaen, Webern and Berg. While it is inaccurate to call them all "serial" in the strict sense, all his major works of the period have clear serialist elements.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>During this period, the concept of serialism influenced not only new compositions but also scholarly analysis of the classical masters. Adding to their professional tools of <a href="/wiki/Sonata_form" title="Sonata form">sonata form</a> and <a href="/wiki/Tonality" title="Tonality">tonality</a>, scholars began to analyze previous works in the light of serial techniques; for example, they found the use of row technique in previous composers going back to Mozart and Beethoven.<sup id="cite_ref-FOOTNOTEJalowetz1944387_49-0" class="reference"><a href="#cite_note-FOOTNOTEJalowetz1944387-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEKeller1955passim_50-0" class="reference"><a href="#cite_note-FOOTNOTEKeller1955passim-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> In particular, the orchestral outburst that introduces the <a href="/wiki/Sonata_form#Development" title="Sonata form">development section</a> halfway through the last movement of <a href="/wiki/Symphony_No._40_(Mozart)" title="Symphony No. 40 (Mozart)">Mozart's Symphony No. 40</a> is a tone row that Mozart punctuates in a very modern and violent way that <a href="/wiki/Michael_Steinberg_(music_critic)" title="Michael Steinberg (music critic)">Michael Steinberg</a> called "rude octaves and frozen silences".<sup id="cite_ref-FOOTNOTESteinberg1998400_51-0" class="reference"><a href="#cite_note-FOOTNOTESteinberg1998400-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Ruth_Crawford_Seeger" title="Ruth Crawford Seeger">Ruth Crawford Seeger</a> extended serial control to parameters other than pitch and to formal planning as early as 1930–33<sup id="cite_ref-FOOTNOTETick2001_52-0" class="reference"><a href="#cite_note-FOOTNOTETick2001-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> in a fashion that goes beyond Webern but was less thoroughgoing than the later practices of Babbitt and European postwar composers.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> <a href="/wiki/Charles_Ives" title="Charles Ives">Charles Ives</a>'s 1906 song "The Cage" begins with piano chords presented in incrementally decreasing durations, an early example of an overtly arithmetic duration series independent of meter (like Nono's six-element row shown above), and in that sense a precursor to Messiaen's style of integral serialism.<sup id="cite_ref-FOOTNOTESchoffman1981_53-0" class="reference"><a href="#cite_note-FOOTNOTESchoffman1981-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> The idea of organizing pitch and rhythm according to similar or related principles is also suggested by both <a href="/wiki/Henry_Cowell" title="Henry Cowell">Henry Cowell</a>'s <i>New Musical Resources</i> (1930) and the work of <a href="/wiki/Joseph_Schillinger" title="Joseph Schillinger">Joseph Schillinger</a>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading2"><h2 id="Reactions_to_serialism">Reactions to serialism</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=7" title="Edit section: Reactions to serialism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatright" style="width:30em; ;"> <blockquote class="quotebox-quote left-aligned" style=""> <p>the first time I ever heard Webern in a concert performance …[t]he impression it made on me was the same as I was to experience a few years later when … I first laid eyes on a <a href="/wiki/Piet_Mondrian" title="Piet Mondrian">Mondriaan</a> canvas...: those things, of which I had acquired an extremely intimate knowledge, came across as crude and unfinished when seen in reality. </p> </blockquote> <div style="padding-bottom: 0; padding-top: 0.5em"><cite class="right-aligned" style=""><a href="/wiki/Karel_Goeyvaerts" title="Karel Goeyvaerts">Karel Goeyvaerts</a> on <a href="/wiki/Anton_Webern" title="Anton Webern">Anton Webern</a>'s music.<sup id="cite_ref-FOOTNOTEGoeyvaerts199439_54-0" class="reference"><a href="#cite_note-FOOTNOTEGoeyvaerts199439-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup></cite></div> </div> <p>Some music theorists have criticized serialism on the basis that its compositional strategies are often incompatible with the way the human mind processes a piece of music. <a href="/wiki/Nicolas_Ruwet" title="Nicolas Ruwet">Nicolas Ruwet</a> (1959) was one of the first to criticise serialism by a comparison with linguistic structures, citing theoretical claims by Boulez and Pousseur, taking as specific examples bars from Stockhausen's <i><a href="/wiki/Klavierst%C3%BCcke_(Stockhausen)" title="Klavierstücke (Stockhausen)">Klavierstücke I & II</a></i>, and calling for a general reexamination of Webern's music. Ruwet specifically names three works as exempt from his criticism: Stockhausen's <i><a href="/wiki/Zeitma%C3%9Fe" title="Zeitmaße">Zeitmaße</a></i> and <i><a href="/wiki/Gruppen" title="Gruppen">Gruppen</a></i>, and Boulez's <i><a href="/wiki/Le_marteau_sans_ma%C3%AEtre" class="mw-redirect" title="Le marteau sans maître">Le marteau sans maître</a></i>.<sup id="cite_ref-FOOTNOTERuwet195983,_85,_87,_93–96_55-0" class="reference"><a href="#cite_note-FOOTNOTERuwet195983,_85,_87,_93–96-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p><p>In response, Pousseur questioned Ruwet's equivalence between phonemes and notes. He also suggested that, if analysis of <i>Le marteau sans maître</i> and <i>Zeitmaße</i>, "performed with sufficient insight", were to be made from the point of view of <a href="/wiki/Wave_theory" class="mw-redirect" title="Wave theory">wave theory</a>—taking into account the dynamic interaction of the different component phenomena, which creates "waves" that interact in a sort of <a href="/wiki/Frequency_modulation" title="Frequency modulation">frequency modulation</a>—the analysis "would accurately reflect the realities of perception". This was because these composers had long since acknowledged the lack of differentiation found in punctual music and, becoming increasingly aware of the laws of perception and complying better with them, "paved the way to a more effective kind of musical communication, without in the least abandoning the emancipation that they had been allowed to achieve by this 'zero state' that was punctual music". One way this was achieved was by developing the concept of "groups", which allows structural relationships to be defined not only between individual notes but also at higher levels, up to the overall form of a piece. This is "a structural method par excellence", and a sufficiently simple conception that it remains easily perceptible.<sup id="cite_ref-FOOTNOTEPousseur1959104–105,_114–115_56-0" class="reference"><a href="#cite_note-FOOTNOTEPousseur1959104–105,_114–115-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> Pousseur also points out that serial composers were the first to recognize and attempt to move beyond the lack of differentiation within certain pointillist works.<sup id="cite_ref-FOOTNOTECampbell2010125_57-0" class="reference"><a href="#cite_note-FOOTNOTECampbell2010125-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> Pousseur later followed up on his own suggestion by developing his idea of "wave" analysis and applying it to Stockhausen's <i>Zeitmaße</i> in two essays.<sup id="cite_ref-FOOTNOTEPousseur1970_58-0" class="reference"><a href="#cite_note-FOOTNOTEPousseur1970-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPousseur1997_59-0" class="reference"><a href="#cite_note-FOOTNOTEPousseur1997-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p><p>Later writers have continued both lines of reasoning. <a href="/wiki/Fred_Lerdahl" title="Fred Lerdahl">Fred Lerdahl</a>, for example, in his essay "<a href="/wiki/Cognitive_Constraints_on_Compositional_Systems" title="Cognitive Constraints on Compositional Systems">Cognitive Constraints on Compositional Systems</a>",<sup id="cite_ref-FOOTNOTELerdahl1988_60-0" class="reference"><a href="#cite_note-FOOTNOTELerdahl1988-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> argues that serialism's perceptual opacity ensures its aesthetic inferiority. Lerdahl has in turn been criticized for excluding "the possibility of other, non-hierarchical methods of achieving musical coherence," and for concentrating on the audibility of tone rows,<sup id="cite_ref-FOOTNOTEGrant2001219_61-0" class="reference"><a href="#cite_note-FOOTNOTEGrant2001219-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> and the portion of his essay focusing on Boulez's "multiplication" technique (exemplified in three movements of <i>Le Marteau sans maître</i>) has been challenged on perceptual grounds by Stephen Heinemann and Ulrich Mosch.<sup id="cite_ref-FOOTNOTEHeinemann1998_62-0" class="reference"><a href="#cite_note-FOOTNOTEHeinemann1998-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEMosch2004_63-0" class="reference"><a href="#cite_note-FOOTNOTEMosch2004-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> Ruwet's critique has also been criticised for making "the fatal mistake of equating visual presentation (a score) with auditive presentation (the music as heard)".<sup id="cite_ref-FOOTNOTEGrant2006351_64-0" class="reference"><a href="#cite_note-FOOTNOTEGrant2006351-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p><p>In all these reactions discussed above, the "information extracted", "perceptual opacity", "auditive presentation" (and constraints thereof) pertain to what defines serialism, namely use of a series. And since Schoenberg remarked, "in the later part of a work, when the set [series] had already become familiar to the ear",<sup id="cite_ref-FOOTNOTESchoenberg1975226_65-0" class="reference"><a href="#cite_note-FOOTNOTESchoenberg1975226-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> it has been assumed that serial composers expect their series to be aurally perceived. This principle even became the premise of empirical investigation in the guise of "probe-tone" experiments testing listeners' familiarity with a row after exposure to its various forms (as would occur in a 12-tone work).<sup id="cite_ref-FOOTNOTEKrumhansl,_Sandell_&_Sergeant1987_66-0" class="reference"><a href="#cite_note-FOOTNOTEKrumhansl,_Sandell_&_Sergeant1987-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> In other words the supposition in critiques of serialism has been that, if a composition is so intricately structured by and around a series, that series should ultimately be clearly perceived or that a listener ought to become aware of its presence or importance. Babbitt denied this: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>That's not the way I conceive of a set [series]. This is not a matter of finding the lost [series]. This is not a matter of cryptoanalysis (where's the hidden [series]?). What I'm interested in is the effect it might have, the way it might assert itself not necessarily explicitly.<sup id="cite_ref-FOOTNOTEBabbitt198727_67-0" class="reference"><a href="#cite_note-FOOTNOTEBabbitt198727-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>Seemingly in accord with Babbitt's statement, but ranging over such issues as perception, aesthetic value, and the "poietic fallacy", Walter Horn offers a more extensive explanation of the serialism (and atonality) controversy.<sup id="cite_ref-FOOTNOTEHorn2015_68-0" class="reference"><a href="#cite_note-FOOTNOTEHorn2015-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> </p><p>Within the community of modern music, exactly what constituted serialism was also a matter of debate. The conventional English usage is that the word "serial" applies to all twelve-tone music, which is a subset of serial music, and it is this usage that is generally intended in reference works. Nevertheless, a large body of music exists that is called "serial" but does not employ note-rows at all, let alone twelve-tone technique, e.g., Stockhausen's <i>Klavierstücke I–IV</i> (which use permuted sets), his <i><a href="/wiki/Stimmung" title="Stimmung">Stimmung</a></i> (with pitches from the <a href="/wiki/Overtone_series" class="mw-redirect" title="Overtone series">overtone series</a>, which is also used as the model for the rhythms), and Pousseur's <i><a href="/wiki/Scambi" title="Scambi">Scambi</a></i> (where the permuted sounds are made exclusively from filtered <a href="/wiki/White_noise" title="White noise">white noise</a>).<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>When serialism is not limited to twelve-tone techniques, a contributing problem is that the word "serial" is seldom if ever defined. In many published analyses of individual pieces the term is used while actual meaning is skated around.<sup id="cite_ref-FOOTNOTEKoenig1999298_69-0" class="reference"><a href="#cite_note-FOOTNOTEKoenig1999298-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Theory_of_twelve-tone_serial_music">Theory of twelve-tone serial music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=8" title="Edit section: Theory of twelve-tone serial music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a></div> <p>Due to Babbitt's work, in the mid-20th century serialist thought became rooted in set theory and began to use a quasi-mathematical vocabulary for the manipulation of the basic sets. Musical <a href="/wiki/Set_theory_(music)" title="Set theory (music)">set theory</a> is often used to analyze and compose serial music, and is also sometimes used in tonal and nonserial atonal analysis.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>The basis for serial composition is Schoenberg's twelve-tone technique, where the 12 notes of the chromatic scale are organized into a row. This "basic" row is then used to create permutations, that is, rows derived from the basic set by reordering its elements. The row may be used to produce a set of intervals, or a composer may derive the row from a particular succession of intervals. A row that uses all of the intervals in their ascending form once is an <a href="/wiki/Tone_row#all-interval_row" title="Tone row">all-interval row</a>. In addition to permutations, the basic row may have some set of notes derived from it, which is used to create a new row. These are <i>derived sets</i>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>Because there are tonal chord progressions that use all twelve notes, it is possible to create pitch rows with very strong tonal implications, and even to write tonal music using twelve-tone technique. Most tone rows contain subsets that can imply a <a href="/wiki/Tonic_(music)" title="Tonic (music)">pitch center</a>; a composer can create music centered on one or more of the row's constituent pitches by emphasizing or avoiding these subsets, respectively, as well as through other, more complex compositional devices.<sup id="cite_ref-FOOTNOTENewlin1974_70-0" class="reference"><a href="#cite_note-FOOTNOTENewlin1974-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPerle1977_71-0" class="reference"><a href="#cite_note-FOOTNOTEPerle1977-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> </p><p>To serialize other elements of music, a system quantifying an identifiable element must be created or defined (this is called "<a href="/wiki/Parameter" title="Parameter">parametrization</a>", after the term in mathematics). For example, if duration is serialized, a set of durations must be specified; if <a href="/wiki/Timbre" title="Timbre">tone colour</a> (timbre) is serialized, a set of separate tone colours must be identified; and so on.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>The selected set or sets, their permutations and derived sets form the composer's basic material.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p><p>Composition using twelve-tone serial methods focuses on each appearance of the collection of twelve chromatic notes, called an <a href="/wiki/Total_chromatic" class="mw-redirect" title="Total chromatic">aggregate</a>. (Sets of more or fewer pitches, or of elements other than pitch, may be treated analogously.) One principle operative in some serial compositions is that no element of the aggregate should be reused in the same contrapuntal strand (statement of a series) until all the other members have been used, and each member must appear only in its place in the series. Yet, since most serial compositions have multiple (at least two, sometimes as many as a few dozen) series statements occurring concurrently, interwoven with each other in time, and feature repetitions of some of their pitches, this principle as stated is more a referential abstraction than a description of the concrete reality of a musical work that is termed "serial".<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (September 2020)">citation needed</span></a></i>]</sup> </p><p>A series may be divided into subsets, and the members of the aggregate not part of a subset are said to be its <i>complement</i>. A subset is <i>self-complementing</i> if it contains half of the set and its complement is also a permutation of the original subset. This is most commonly seen with <i>hexachords</i>, six-note segments of a tone row. A hexachord that is self-complementing for a particular permutation is called <i>prime combinatorial</i>. A hexachord that is self-complementing for all the canonic operations—<a href="/wiki/Melodic_inversion" class="mw-redirect" title="Melodic inversion">inversion</a>, <a href="/wiki/Retrograde_(music)" title="Retrograde (music)">retrograde</a>, and <a href="/wiki/Retrograde_inversion" title="Retrograde inversion">retrograde inversion</a>—is called <i>all-combinatorial</i>.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (December 2020)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading2"><h2 id="Notable_composers">Notable composers</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=9" title="Edit section: Notable composers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Unreferenced_section plainlinks metadata ambox ambox-content ambox-Unreferenced" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section <b>does not <a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">cite</a> any <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">sources</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Serialism" title="Special:EditPage/Serialism">improve this section</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a>. Unsourced material may be challenged and <a href="/wiki/Wikipedia:Verifiability#Burden_of_evidence" title="Wikipedia:Verifiability">removed</a>.</span> <span class="date-container"><i>(<span class="date">December 2020</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/List_of_dodecaphonic_and_serial_compositions" title="List of dodecaphonic and serial compositions">List of dodecaphonic and serial compositions</a></div> <style data-mw-deduplicate="TemplateStyles:r1184024115">.mw-parser-output .div-col{margin-top:0.3em;column-width:30em}.mw-parser-output .div-col-small{font-size:90%}.mw-parser-output .div-col-rules{column-rule:1px solid #aaa}.mw-parser-output .div-col dl,.mw-parser-output .div-col ol,.mw-parser-output .div-col ul{margin-top:0}.mw-parser-output .div-col li,.mw-parser-output .div-col dd{page-break-inside:avoid;break-inside:avoid-column}</style><div class="div-col" style="column-width: 20em;"> <ul><li><a href="/wiki/Hans_Abrahamsen" title="Hans Abrahamsen">Hans Abrahamsen</a></li> <li><a href="/wiki/Gilbert_Amy" title="Gilbert Amy">Gilbert Amy</a></li> <li><a href="/wiki/Louis_Andriessen" title="Louis Andriessen">Louis Andriessen</a></li> <li><a href="/wiki/Denis_ApIvor" title="Denis ApIvor">Denis ApIvor</a></li> <li><a href="/wiki/Hans_Erich_Apostel" title="Hans Erich Apostel">Hans Erich Apostel</a></li> <li><a href="/wiki/Kees_van_Baaren" title="Kees van Baaren">Kees van Baaren</a></li> <li><a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a></li> <li><a href="/wiki/Tadeusz_Baird" title="Tadeusz Baird">Tadeusz Baird</a></li> <li><a href="/wiki/Osvaldas_Balakauskas" title="Osvaldas Balakauskas">Osvaldas Balakauskas</a></li> <li><a href="/wiki/Don_Banks" title="Don Banks">Don Banks</a></li> <li><a href="/wiki/Jean_Barraqu%C3%A9" title="Jean Barraqué">Jean Barraqué</a></li> <li><a href="/wiki/J%C3%BCrg_Baur" title="Jürg Baur">Jürg Baur</a></li> <li><a href="/wiki/Alban_Berg" title="Alban Berg">Alban Berg</a></li> <li><a href="/wiki/Gunnar_Berg_(composer)" title="Gunnar Berg (composer)">Gunnar Berg</a></li> <li><a href="/wiki/Arthur_Berger_(composer)" title="Arthur Berger (composer)">Arthur Berger</a></li> <li><a href="/wiki/Erik_Bergman" title="Erik Bergman">Erik Bergman</a></li> <li><a href="/wiki/Luciano_Berio" title="Luciano Berio">Luciano Berio</a></li> <li><a href="/wiki/Karl-Birger_Blomdahl" title="Karl-Birger Blomdahl">Karl-Birger Blomdahl</a></li> <li><a href="/wiki/Konrad_Boehmer" title="Konrad Boehmer">Konrad Boehmer</a></li> <li><a href="/wiki/Rob_du_Bois" title="Rob du Bois">Rob du Bois</a></li> <li><a href="/wiki/Andr%C3%A9_Boucourechliev" title="André Boucourechliev">André Boucourechliev</a></li> <li><a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a></li> <li><a href="/wiki/Martin_Boykan" title="Martin Boykan">Martin Boykan</a></li> <li><a href="/wiki/Ole_Buck" title="Ole Buck">Ole Buck</a></li> <li><a href="/wiki/Jacques_Calonne" title="Jacques Calonne">Jacques Calonne</a></li> <li><a href="/wiki/Niccol%C3%B2_Castiglioni" title="Niccolò Castiglioni">Niccolò Castiglioni</a></li> <li><a href="/wiki/Aldo_Clementi" title="Aldo Clementi">Aldo Clementi</a></li> <li><a href="/wiki/Salvador_Contreras" title="Salvador Contreras">Salvador Contreras</a></li> <li><a href="/wiki/Aaron_Copland" title="Aaron Copland">Aaron Copland</a></li> <li><a href="/wiki/Luigi_Dallapiccola" title="Luigi Dallapiccola">Luigi Dallapiccola</a></li> <li><a href="/wiki/Franco_Donatoni" title="Franco Donatoni">Franco Donatoni</a></li> <li><a href="/wiki/Hanns_Eisler" title="Hanns Eisler">Hanns Eisler</a></li> <li><a href="/wiki/Manuel_Enr%C3%ADquez" title="Manuel Enríquez">Manuel Enríquez</a></li> <li><a href="/wiki/Karlheinz_Essl" class="mw-redirect" title="Karlheinz Essl">Karlheinz Essl</a></li> <li><a href="/wiki/Franco_Evangelisti_(composer)" title="Franco Evangelisti (composer)">Franco Evangelisti</a></li> <li><a href="/wiki/Brian_Ferneyhough" title="Brian Ferneyhough">Brian Ferneyhough</a></li> <li><a href="/wiki/Jacobo_Ficher" title="Jacobo Ficher">Jacobo Ficher</a></li> <li><a href="/wiki/Irving_Fine" title="Irving Fine">Irving Fine</a></li> <li><a href="/wiki/Wolfgang_Fortner" title="Wolfgang Fortner">Wolfgang Fortner</a></li> <li><a href="/wiki/Roberto_Gerhard" title="Roberto Gerhard">Roberto Gerhard</a></li> <li><a href="/wiki/Frans_Geysen" title="Frans Geysen">Frans Geysen</a></li> <li><a href="/wiki/Michael_Gielen" title="Michael Gielen">Michael Gielen</a></li> <li><a href="/wiki/Alberto_Ginastera" title="Alberto Ginastera">Alberto Ginastera</a></li> <li><a href="/wiki/Lucien_Goethals" title="Lucien Goethals">Lucien Goethals</a></li> <li><a href="/wiki/Karel_Goeyvaerts" title="Karel Goeyvaerts">Karel Goeyvaerts</a></li> <li><a href="/wiki/Jerry_Goldsmith" title="Jerry Goldsmith">Jerry Goldsmith</a></li> <li><a href="/wiki/Henryk_G%C3%B3recki" title="Henryk Górecki">Henryk Górecki</a></li> <li><a href="/wiki/Glenn_Gould" title="Glenn Gould">Glenn Gould</a></li> <li><a href="/wiki/Pelle_Gudmundsen-Holmgreen" title="Pelle Gudmundsen-Holmgreen">Pelle Gudmundsen-Holmgreen</a></li> <li><a href="/wiki/C%C3%A9sar_Guerra-Peixe" title="César Guerra-Peixe">César Guerra-Peixe</a></li> <li><a href="/wiki/Lou_Harrison" title="Lou Harrison">Lou Harrison</a></li> <li><a href="/wiki/Jonathan_Harvey_(composer)" title="Jonathan Harvey (composer)">Jonathan Harvey</a></li> <li><a href="/wiki/Josef_Matthias_Hauer" title="Josef Matthias Hauer">Josef Matthias Hauer</a></li> <li><a href="/wiki/Paavo_Heininen" title="Paavo Heininen">Paavo Heininen</a></li> <li><a href="/wiki/Hermann_Heiss" title="Hermann Heiss">Hermann Heiss</a></li> <li><a href="/wiki/Hans_Werner_Henze" title="Hans Werner Henze">Hans Werner Henze</a></li> <li><a href="/wiki/York_H%C3%B6ller" title="York Höller">York Höller</a></li> <li><a href="/wiki/Heinz_Holliger" title="Heinz Holliger">Heinz Holliger</a></li> <li><a href="/wiki/Bill_Hopkins_(composer)" title="Bill Hopkins (composer)">Bill Hopkins</a></li> <li><a href="/wiki/Klaus_Huber" title="Klaus Huber">Klaus Huber</a></li> <li><a href="/wiki/Karel_Husa" title="Karel Husa">Karel Husa</a></li> <li><a href="/wiki/Hanns_Jelinek" title="Hanns Jelinek">Hanns Jelinek</a></li> <li><a href="/wiki/Ben_Johnston_(composer)" title="Ben Johnston (composer)">Ben Johnston</a></li> <li><a href="/wiki/Nikolai_Karetnikov" title="Nikolai Karetnikov">Nikolai Karetnikov</a></li> <li><a href="/wiki/Rudolf_Kelterborn" title="Rudolf Kelterborn">Rudolf Kelterborn</a></li> <li><a href="/wiki/Gottfried_Michael_Koenig" title="Gottfried Michael Koenig">Gottfried Michael Koenig</a></li> <li><a href="/wiki/J%C3%B3zef_Koffler" title="Józef Koffler">Józef Koffler</a></li> <li><a href="/wiki/Ernst_Krenek" title="Ernst Krenek">Ernst Krenek</a></li> <li><a href="/wiki/Meyer_Kupferman" title="Meyer Kupferman">Meyer Kupferman</a></li> <li><a href="/wiki/Ren%C3%A9_Leibowitz" title="René Leibowitz">René Leibowitz</a></li> <li><a href="/wiki/Ingvar_Lidholm" title="Ingvar Lidholm">Ingvar Lidholm</a></li> <li><a href="/wiki/Witold_Lutos%C5%82awski" title="Witold Lutosławski">Witold Lutosławski</a></li> <li><a href="/wiki/Elisabeth_Lutyens" title="Elisabeth Lutyens">Elisabeth Lutyens</a></li> <li><a href="/wiki/John_McGuire_(composer)" title="John McGuire (composer)">John McGuire</a></li> <li><a href="/wiki/Bruno_Maderna" title="Bruno Maderna">Bruno Maderna</a></li> <li><a href="/wiki/Ursula_Mamlok" title="Ursula Mamlok">Ursula Mamlok</a></li> <li><a href="/wiki/Philippe_Manoury" title="Philippe Manoury">Philippe Manoury</a></li> <li><a href="/wiki/Donald_Martino" title="Donald Martino">Donald Martino</a></li> <li><a href="/wiki/Paul_M%C3%A9fano" title="Paul Méfano">Paul Méfano</a></li> <li><a href="/wiki/Jacques-Louis_Monod" title="Jacques-Louis Monod">Jacques-Louis Monod</a></li> <li><a href="/wiki/Robert_Morris_(composer)" title="Robert Morris (composer)">Robert Morris</a></li> <li><a href="/wiki/Luigi_Nono" title="Luigi Nono">Luigi Nono</a></li> <li><a href="/wiki/Per_N%C3%B8rg%C3%A5rd" title="Per Nørgård">Per Nørgård</a></li> <li><a href="/wiki/Krzysztof_Penderecki" title="Krzysztof Penderecki">Krzysztof Penderecki</a></li> <li><a href="/wiki/Goffredo_Petrassi" title="Goffredo Petrassi">Goffredo Petrassi</a></li> <li><a href="/wiki/Michel_Philippot" title="Michel Philippot">Michel Philippot</a></li> <li><a href="/wiki/Walter_Piston" title="Walter Piston">Walter Piston</a></li> <li><a href="/wiki/Henri_Pousseur" title="Henri Pousseur">Henri Pousseur</a></li> <li><a href="/wiki/Einojuhani_Rautavaara" title="Einojuhani Rautavaara">Einojuhani Rautavaara</a></li> <li><a href="/wiki/Roger_Reynolds" title="Roger Reynolds">Roger Reynolds</a></li> <li><a href="/wiki/Terry_Riley" title="Terry Riley">Terry Riley</a></li> <li><a href="/wiki/George_Rochberg" title="George Rochberg">George Rochberg</a></li> <li><a href="/wiki/Leonard_Rosenman" title="Leonard Rosenman">Leonard Rosenman</a></li> <li><a href="/wiki/Cl%C3%A1udio_Santoro" title="Cláudio Santoro">Cláudio Santoro</a></li> <li><a href="/wiki/Peter_Schat" title="Peter Schat">Peter Schat</a></li> <li><a href="/wiki/Leon_Schidlowsky" title="Leon Schidlowsky">Leon Schidlowsky</a></li> <li><a href="/wiki/Dieter_Schnebel" title="Dieter Schnebel">Dieter Schnebel</a></li> <li><a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a>, considered the founder of serialism</li> <li><a href="/wiki/Humphrey_Searle" title="Humphrey Searle">Humphrey Searle</a></li> <li><a href="/wiki/Ruth_Crawford_Seeger" title="Ruth Crawford Seeger">Ruth Crawford Seeger</a></li> <li><a href="/wiki/M%C3%A1ty%C3%A1s_Seiber" title="Mátyás Seiber">Mátyás Seiber</a></li> <li><a href="/wiki/Roger_Sessions" title="Roger Sessions">Roger Sessions</a></li> <li><a href="/wiki/Nikos_Skalkottas" title="Nikos Skalkottas">Nikos Skalkottas</a></li> <li><a href="/wiki/Roger_Smalley" title="Roger Smalley">Roger Smalley</a></li> <li><a href="/wiki/Ann_Southam" title="Ann Southam">Ann Southam</a></li> <li><a href="/wiki/Leopold_Spinner" title="Leopold Spinner">Leopold Spinner</a></li> <li><a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a></li> <li><a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a></li> <li><a href="/wiki/Robert_Suderburg" title="Robert Suderburg">Robert Suderburg</a></li> <li><a href="/wiki/Richard_Swift_(composer)" title="Richard Swift (composer)">Richard Swift</a></li> <li><a href="/wiki/Louise_Talma" title="Louise Talma">Louise Talma</a></li> <li><a href="/wiki/Camillo_Togni" title="Camillo Togni">Camillo Togni</a></li> <li><a href="/wiki/Gilles_Tremblay_(composer)" title="Gilles Tremblay (composer)">Gilles Tremblay</a></li> <li><a href="/wiki/Fartein_Valen" title="Fartein Valen">Fartein Valen</a></li> <li><a href="/wiki/Wladimir_Vogel" title="Wladimir Vogel">Wladimir Vogel</a></li> <li><a href="/wiki/Anton_Webern" title="Anton Webern">Anton Webern</a></li> <li><a href="/wiki/Hugo_Weisgall" title="Hugo Weisgall">Hugo Weisgall</a></li> <li><a href="/wiki/Peter_Westergaard" title="Peter Westergaard">Peter Westergaard</a></li> <li><a href="/wiki/Stefan_Wolpe" title="Stefan Wolpe">Stefan Wolpe</a></li> <li><a href="/wiki/Charles_Wuorinen" title="Charles Wuorinen">Charles Wuorinen</a></li> <li><a href="/wiki/La_Monte_Young" title="La Monte Young">La Monte Young</a></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=10" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Pitch_interval" title="Pitch interval">Pitch interval</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=11" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 15em;"> <ol class="references"> <li id="cite_note-FOOTNOTEWhittall2008165-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWhittall2008165_1-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWhittall2008">Whittall 2008</a>, p. 165.</span> </li> <li id="cite_note-FOOTNOTEBandur20015,_12,_74-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBandur20015,_12,_74_2-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBandur2001">Bandur 2001</a>, pp. 5, 12, 74.</span> </li> <li id="cite_note-FOOTNOTEGerstner1964passim-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGerstner1964passim_3-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGerstner1964">Gerstner 1964</a>, passim.</span> </li> <li id="cite_note-FOOTNOTECollot200881-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECollot200881_4-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCollot2008">Collot 2008</a>, p. 81.</span> </li> <li id="cite_note-FOOTNOTELeray2008217–219-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELeray2008217–219_5-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLeray2008">Leray 2008</a>, pp. 217–219.</span> </li> <li id="cite_note-FOOTNOTEWaelti-Walters199237,_64,_81,_95-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWaelti-Walters199237,_64,_81,_95_6-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWaelti-Walters1992">Waelti-Walters 1992</a>, pp. 37, 64, 81, 95.</span> </li> <li id="cite_note-FOOTNOTEWhittall2008273-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWhittall2008273_7-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWhittall2008">Whittall 2008</a>, p. 273.</span> </li> <li id="cite_note-FOOTNOTEGrant20015–6-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGrant20015–6_8-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGrant2001">Grant 2001</a>, pp. 5–6.</span> </li> <li id="cite_note-FOOTNOTEGriffiths2001116-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEGriffiths2001116_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEGriffiths2001116_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGriffiths2001">Griffiths 2001</a>, p. 116.</span> </li> <li id="cite_note-FOOTNOTEWörner1973196-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWörner1973196_10-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWörner1973">Wörner 1973</a>, p. 196.</span> </li> <li id="cite_note-FOOTNOTEWhittall20081-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEWhittall20081_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEWhittall20081_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFWhittall2008">Whittall 2008</a>, p. 1.</span> </li> <li id="cite_note-FOOTNOTEBandur20015-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBandur20015_12-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBandur2001">Bandur 2001</a>, p. 5.</span> </li> <li id="cite_note-FOOTNOTEFrisius19981327-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEFrisius19981327_13-0"><sup><i><b>a</b></i></sup></a> <a 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class="reference-text"><a href="#CITEREFPousseur1997">Pousseur 1997</a>.</span> </li> <li id="cite_note-FOOTNOTELerdahl1988-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELerdahl1988_60-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLerdahl1988">Lerdahl 1988</a>.</span> </li> <li id="cite_note-FOOTNOTEGrant2001219-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGrant2001219_61-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGrant2001">Grant 2001</a>, p. 219.</span> </li> <li id="cite_note-FOOTNOTEHeinemann1998-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHeinemann1998_62-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHeinemann1998">Heinemann 1998</a>.</span> </li> <li id="cite_note-FOOTNOTEMosch2004-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMosch2004_63-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMosch2004">Mosch 2004</a>.</span> </li> <li id="cite_note-FOOTNOTEGrant2006351-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGrant2006351_64-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGrant2006">Grant 2006</a>, p. 351.</span> </li> <li id="cite_note-FOOTNOTESchoenberg1975226-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchoenberg1975226_65-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchoenberg1975">Schoenberg 1975</a>, p. 226.</span> </li> <li id="cite_note-FOOTNOTEKrumhansl,_Sandell_&_Sergeant1987-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKrumhansl,_Sandell_&_Sergeant1987_66-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKrumhansl,_Sandell_&_Sergeant1987">Krumhansl, Sandell & Sergeant 1987</a>.</span> </li> <li id="cite_note-FOOTNOTEBabbitt198727-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBabbitt198727_67-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBabbitt1987">Babbitt 1987</a>, p. 27.</span> </li> <li id="cite_note-FOOTNOTEHorn2015-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHorn2015_68-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHorn2015">Horn 2015</a>.</span> </li> <li id="cite_note-FOOTNOTEKoenig1999298-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKoenig1999298_69-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKoenig1999">Koenig 1999</a>, p. 298.</span> </li> <li id="cite_note-FOOTNOTENewlin1974-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTENewlin1974_70-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFNewlin1974">Newlin 1974</a>.</span> </li> <li id="cite_note-FOOTNOTEPerle1977-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPerle1977_71-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPerle1977">Perle 1977</a>.</span> </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=12" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1184024115" /><div class="div-col" style="column-width: 45em;"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAnon.2008" class="citation web cs1">Anon. (1 December 2008). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081201141342/http://www.milkenarchive.org/artists/artists.taf?artistid=191">"Arnold Schoenberg"</a>. <i><a href="/wiki/Milken_Archive_of_American_Jewish_Music" class="mw-redirect" title="Milken Archive of American Jewish Music">Milken Archive of American Jewish Music</a></i>. Archived from <a rel="nofollow" class="external text" href="http://www.milkenarchive.org/artists/artists.taf?artistid=191">the original</a> on 1 December 2008<span class="reference-accessdate">. Retrieved <span class="nowrap">23 February</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Milken+Archive+of+American+Jewish+Music&rft.atitle=Arnold+Schoenberg&rft.date=2008-12-01&rft.au=Anon.&rft_id=http%3A%2F%2Fwww.milkenarchive.org%2Fartists%2Fartists.taf%3Fartistid%3D191&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASerialism" class="Z3988"></span></li> <li><style data-mw-deduplicate="TemplateStyles:r1041539562">.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}</style><cite class="citation wikicite" id="CITEREFBabbitt1987"><a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Babbitt, Milton</a>. 1987. <i>Words about Music</i>, edited by Stephen Dembski and Joseph N. Straus. Madison: University of Wisconsin Press.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBall2011" class="citation journal cs1"><a href="/wiki/Philip_Ball" title="Philip Ball">Ball, Philip</a> (2011). "Schoenberg, Serialism and Cognition: Whose Fault If No One Listens?". <i>Interdisciplinary Science Reviews</i>. <b>36</b> (1): <span class="nowrap">24–</span>41. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/2011ISRv...36...24B">2011ISRv...36...24B</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1179%2F030801811X12941390545645">10.1179/030801811X12941390545645</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:143370540">143370540</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Interdisciplinary+Science+Reviews&rft.atitle=Schoenberg%2C+Serialism+and+Cognition%3A+Whose+Fault+If+No+One+Listens%3F&rft.volume=36&rft.issue=1&rft.pages=%3Cspan+class%3D%22nowrap%22%3E24-%3C%2Fspan%3E41&rft.date=2011&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A143370540%23id-name%3DS2CID&rft_id=info%3Adoi%2F10.1179%2F030801811X12941390545645&rft_id=info%3Abibcode%2F2011ISRv...36...24B&rft.aulast=Ball&rft.aufirst=Philip&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASerialism" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFBandur2001">Bandur, Markus. 2001. <i>Aesthetics of Total Serialism: Contemporary Research from Music to Architecture</i>. Basel, Boston and Berlin: Birkhäuser.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFBochner1967">Bochner, Mel. 1967. "The Serial Attitude". <i>Artforum</i> 6, no. 4 (December): 28–33.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFBosseur1989">Bosseur, Jean-Yves. 1989. "<i>Votre Faust</i>, miroir critique". <i>Revue belge de musicologie</i>/<i>Belgisch tijdschrift voor muziekwetenschap</i> 43 (Liber amicorum Henri Pousseur: Henri Pousseur, ou, Le sérialisme entre modernisme et postmodernisme/Henri Pousseur, of, De lange weg naar de toekomst): 57–70.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFBoulez1954"><a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Boulez, Pierre</a>. 1954. "… auprès et au loin". <i>Cahiers de la Compagnie Madeleine Renaud–Jean-Louis Barrault</i> 2, no. 3:7–27. Reprinted in <i>Relevés d’apprenti</i>, edited by Paule Thévenin. Collection "Tel quel". Paris: Éditions du Seuil, 1966, 183–203. Also reprinted in <i>Points de repère</i>, third edition, 1:287–314. Paris: Christian Bourgois, 1995. English version, as ". . .<i>Auprès et au loin</i>", in Pierre Boulez, <i>Notes of an Apprenticeship</i>, texts collected and presented by Paule Thévenin, translated by Herbert Weinstock, 182–204. New York: Alfred A. Knopf, 1968. Another English version, as "Near and Far", in Pierre Boulez, <i>Stocktakings from an Apprenticeship</i>, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 141–157. Oxford: Clarendon Press; New York: Oxford University Press, 1991. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0193112108" title="Special:BookSources/0193112108">0193112108</a>.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFCampbell2010">Campbell, Edward. 2010. <i>Boulez, Music and Philosophy</i>. Music in the Twentieth Century 27. 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"<i>Music in the Twentieth and Twenty-First Centuries</i> and <i>Anthology for Music in the Twentieth and Twenty-First Centuries</i>, by Joseph Auner". <i>College Music Symposium</i> (Review). <b>55</b>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.18177%2Fsym.2015.55.rev.10874">10.18177/sym.2015.55.rev.10874</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/2330-2011">2330-2011</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/26574410">26574410</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=College+Music+Symposium&rft.atitle=Music+in+the+Twentieth+and+Twenty-First+Centuries+and+Anthology+for+Music+in+the+Twentieth+and+Twenty-First+Centuries%2C+by+Joseph+Auner&rft.volume=55&rft.date=2015-01-12&rft.issn=2330-2011&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F26574410%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.18177%2Fsym.2015.55.rev.10874&rft.aulast=Granade&rft.aufirst=S.+Andrew&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASerialism" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFGrant2001">Grant, Morag Josephine. 2001. <i>Serial Music Serial Aesthetics: Compositional Theory in Post-War Europe</i>. 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"Serialism and Its Contradictions". <i>International Review of the Aesthetics and Sociology of Music</i>. <b>26</b> (1): <span class="nowrap">77–</span>95. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F836966">10.2307/836966</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/836966">836966</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=International+Review+of+the+Aesthetics+and+Sociology+of+Music&rft.atitle=Serialism+and+Its+Contradictions&rft.volume=26&rft.issue=1&rft.pages=%3Cspan+class%3D%22nowrap%22%3E77-%3C%2Fspan%3E95&rft.date=1995-06&rft_id=info%3Adoi%2F10.2307%2F836966&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F836966%23id-name%3DJSTOR&rft.aulast=Moore&rft.aufirst=Allan+F.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASerialism" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFMorgan1975">Morgan, Robert. 1975. <a rel="nofollow" class="external text" href="https://archive.today/20130415161359/http://mq.oxfordjournals.org/content/75/4/194.full.pdf+html">"Stockhausen's Writings on Music"</a>. (Subscription access) <i><a href="/wiki/The_Musical_Quarterly" title="The Musical Quarterly">The Musical Quarterly</a></i> 61, no. 1 (January): 1–16. Reprinted in <i>The Musical Quarterly</i> 75, no. 4 (Winter 1991): 194–206.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFMosch2004"><a href="/wiki/Ulrich_Mosch" title="Ulrich Mosch">Mosch, Ulrich</a>. 2004. <i>Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' "Le Marteau sans maître"</i>. Saarbrücken: Pfau-Verlag.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFNewlin1974"><a href="/wiki/Dika_Newlin" title="Dika Newlin">Newlin, Dika</a>. 1974. 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Slightly revised and expanded version, trans. into English as "Music, Form and Practice (An Attempt to Reconcile Some Contradictions)". <i>Die Reihe</i> 6 (1964): 77–93.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFPousseur1970">Pousseur, Henri. 1970. "En guise de conclusion: Pour une Périodicitée generalisée". In his <i>Fragments théoriques I: Sur la musique expérimentale</i>, 241–290. Études de sociologie de la musique. Brussels: Editions de l’Institut de Sociologie Université Libre de Bruxelles.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFPousseur1997">Pousseur, Henri. 1997. "<i>Zeitmasze</i>: série, périodicité, individuation". Chapter 12 of his <i>Musiques croisées</i>, preface by Jean-Yves Bosseur, 171–189. Collection Musique et Musicologie. Paris: L'Harmattan.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFRuwet1959"><a href="/wiki/Nicolas_Ruwet" title="Nicolas Ruwet">Ruwet, Nicolas</a>. 1959. "Contradictions du langage sériel". <i>Revue Belge de Musicologie</i> 13 (1959), 83–97. English trans., as "Contradictions within the Serial Language". <i>Die Reihe</i> 6 (1964): 65–76.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFSabbe1977">Sabbe, Herman. 1977. <i>Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode 1950–1975</i>. 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Berkeley and Los Angeles: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-05294-3" title="Special:BookSources/0-520-05294-3">0-520-05294-3</a>.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFSchoffman1981">Schoffman, Nachum. 1981. "Serialism in the Works of Charles Ives". <i><a href="/wiki/Tempo_(journal)" title="Tempo (journal)">Tempo</a></i> 138: 21–32.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFShatzkin1977">Shatzkin, Merton. 1977. "A Pre-Cantata Serialism in Stravinsky". <i><a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a></i> 16, no. 1 (Fall–Winter): 139–143.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFSherlaw_Johnson1989"><a href="/wiki/Robert_Sherlaw_Johnson" title="Robert Sherlaw Johnson">Sherlaw Johnson, Robert</a>. <i>Messiaen</i>, revised and updated edition. 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"Es geht aufwärts". In: Karlheinz Stockhausen, <i>Texte zur Musik</i> 9, edited by <a href="/wiki/Christoph_von_Blumr%C3%B6der" title="Christoph von Blumröder">Christoph von Blumröder</a>, 391–512. Kürten: Stockhausen-Verlag.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFSykora1983"><a href="/w/index.php?title=Katharina_Sykora&action=edit&redlink=1" class="new" title="Katharina Sykora (page does not exist)">Sykora, Katharina</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://de.wikipedia.org/wiki/Katharina_Sykora" class="extiw" title="de:Katharina Sykora">de</a>]</span>. 1983. <i>Das Phänomen des Seriellen in der Kunst: Aspekte einer künstlerischen Methode von Monet bis zur amerikanischen Pop Art</i>. Würzburg: Könighausen + Neumann.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFTick2001">Tick, Judith. 2001. "Crawford (Seeger), Ruth (Porter)". <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i>, second edition, edited by <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Stanley Sadie</a> and <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">John Tyrrell</a>. London: Macmillan.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFWaelti-Walters1992">Waelti-Walters, Jennifer R. 1992. <i>Michel Butor</i>. Collection monographique Rodopi en littérature française contemporaine 15. Amsterdam and Atlanta: Rodopi. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9789051833867" title="Special:BookSources/9789051833867">9789051833867</a>.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFWalker1986"><a href="/wiki/Alan_Walker_(musicologist)" title="Alan Walker (musicologist)">Walker, Alan</a>. 1986. <i>Franz Liszt</i>, volume two: The Weimar Years 1848–1861. New York: Knopf. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780394525402" title="Special:BookSources/9780394525402">9780394525402</a>.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFWhittall2008"><a href="/wiki/Arnold_Whittall" title="Arnold Whittall">Whittall, Arnold</a>. 2008. <i>The Cambridge Introduction to Serialism</i>. Cambridge Introductions to Music. New York: Cambridge University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-86341-4" title="Special:BookSources/978-0-521-86341-4">978-0-521-86341-4</a> (hardback) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-68200-8" title="Special:BookSources/978-0-521-68200-8">978-0-521-68200-8</a> (pbk).</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562" /><cite class="citation wikicite" id="CITEREFWörner1973"><a href="/w/index.php?title=Karl_Heinrich_W%C3%B6rner&action=edit&redlink=1" class="new" title="Karl Heinrich Wörner (page does not exist)">Wörner, Karl H.</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://de.wikipedia.org/wiki/Karl_Heinrich_W%C3%B6rner" class="extiw" title="de:Karl Heinrich Wörner">de</a>]</span> 1973. <i><a rel="nofollow" class="external text" href="https://books.google.com/books?isbn=0520032721">Stockhausen: Life and Work</a></i>, introduced, translated, and edited by <a href="/wiki/Bill_Hopkins_(composer)" title="Bill Hopkins (composer)">Bill Hopkins</a>. London: Faber and Faber; Berkeley and Los Angeles: University of California Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-02143-6" title="Special:BookSources/0-520-02143-6">0-520-02143-6</a>.</cite></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=13" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1184024115" /><div class="div-col" style="column-width: 45em;"> <ul><li>Delaere, Marc. 2016. "The Stockhausen–Goeyvaerts Correspondence and the Aesthetic Foundations of Serialism in the Early 1950s". In <i>The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward</i>, edited by M. J. Grant and Imke Misch, 20–34. Hofheim: Wolke Verlag. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-95593-068-4" title="Special:BookSources/978-3-95593-068-4">978-3-95593-068-4</a>.</li> <li><a href="/wiki/Umberto_Eco" title="Umberto Eco">Eco, Umberto</a>. 2005. "Innovation & Repetition: Between Modern & Postmodern Aesthetics". <i><a href="/wiki/Daedalus_(journal)" title="Daedalus (journal)">Daedalus</a></i> 134, no. 4, 50 Years (Fall): 191–207. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1162%2F001152605774431527">10.1162/001152605774431527</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20028022">20028022</a>.</li> <li><a href="/wiki/Karlheinz_Essl" class="mw-redirect" title="Karlheinz Essl">Essl, Karlheinz</a>. 1989. <a rel="nofollow" class="external text" href="http://www.essl.at/bibliogr/stockhausen.html">"Aspekte des Seriellen bei Stockhausen"</a>. In <i>Almanach Wien Modern 89</i>, edited by L. Knessl, 90-97. Vienna: Konzerthaus.</li> <li><a href="/wiki/Allen_Forte" title="Allen Forte">Forte, Allen</a>. 1964. "A Theory of Set-Complexes for Music". <i><a href="/wiki/Journal_of_Music_Theory" title="Journal of Music Theory">Journal of Music Theory</a></i> 8, no. 2 (Winter): 136–184.</li> <li>Forte, Allen. 1973. <i>The Structure of Atonal Music</i>. New Haven and London: Yale University Press.</li> <li>Forte, Allen. 1998. <i>The Atonal Music of Anton Webern</i>. New Haven: Yale University Press.</li> <li>Fürstenberger, Barbara. 1989. <i>Michel Butors literarische Träume: Untersuchungen zu Matière de rêves I bis V</i>. Studia Romanica 72. Heidelberg: C. Winter. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9783533040705" title="Special:BookSources/9783533040705">9783533040705</a>, <a href="/wiki/Special:BookSources/9783533040699" title="Special:BookSources/9783533040699">9783533040699</a>.</li> <li>Gollin, Edward. 2007. "Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók." <i><a href="/wiki/Music_Theory_Spectrum" title="Music Theory Spectrum">Music Theory Spectrum</a></i> 29, no. 2 (Fall): 143–176. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1525%2Fmts.2007.29.2.143">10.1525/mts.2007.29.2.143</a>.</li> <li><a href="/wiki/Paul_Gredinger" title="Paul Gredinger">Gredinger, Paul</a>. 1955. "Das Serielle". <i><a href="/wiki/Die_Reihe" title="Die Reihe">Die Reihe</a></i> 1 ("Elektronische Musik"): 34–41. English as "Serial Technique", translated by Alexander Goehr. <i>Die Reihe</i> 1 ("Electronic Music"), (English edition 1958): 38–44.</li> <li>Knee, Robin. 1985. "Michel Butor's <i>Passage de Milan</i>: The Numbers Game". <i><a href="/wiki/Review_of_Contemporary_Fiction" title="Review of Contemporary Fiction">Review of Contemporary Fiction</a></i> 5, no. 3:146–149.</li> <li><a href="/wiki/Jerome_Kohl" title="Jerome Kohl">Kohl, Jerome</a>. 2017. <i>Karlheinz Stockhausen: Zeitmaße</i>. Landmarks in Music Since 1950, edited by Wyndham Thomas. Abingdon, Oxon; London; New York: Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7546-5334-9" title="Special:BookSources/978-0-7546-5334-9">978-0-7546-5334-9</a>.</li> <li><a href="/wiki/Ernst_Krenek" title="Ernst Krenek">Krenek, Ernst</a>. 1953. "Is the Twelve-Tone Technique on the Decline?" <i><a href="/wiki/The_Musical_Quarterly" title="The Musical Quarterly">The Musical Quarterly</a></i> 39, no 4 (October): 513–527.</li> <li><a href="/wiki/Fred_Lerdahl" title="Fred Lerdahl">Lerdahl, Fred</a>, and <a href="/wiki/Ray_Jackendoff" title="Ray Jackendoff">Ray Jackendoff</a>. 1983. <i>A Generative Theory of Tonal Music</i>. Cambridge, Massachusetts: MIT Press.</li> <li><a href="/wiki/Leonard_B._Meyer" title="Leonard B. Meyer">Meyer, Leonard B.</a> 1967. <i>Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture</i>. Chicago and London: University of Chicago Press. (Second edition 1994.)</li> <li>Miller, Elinor S. 1983. "Critical Commentary II: Butor's <i>Quadruple fond</i> as Serial Music". <i>Romance Notes</i> 24, no. 2 (Winter): 196–204.</li> <li>Misch, Imke. 2016. "Karlheinz Stockhausen: The Challenge of Legacy: An Introduction". In <i>The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward</i>, edited by M. J. Grant and Imke Misch, 11–19. Hofheim: Wolke Verlag. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-95593-068-4" title="Special:BookSources/978-3-95593-068-4">978-3-95593-068-4</a>.</li> <li><a href="/wiki/George_Perle" title="George Perle">Perle, George</a>. 1962. <i>Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern</i>. Berkeley: University of California Press.</li> <li><a href="/wiki/John_Rahn" title="John Rahn">Rahn, John</a>. 1980. <i>Basic Atonal Theory</i>. New York: Schirmer Books.</li> <li><a href="/wiki/Alex_Ross_(music_critic)" title="Alex Ross (music critic)">Ross, Alex</a>. 2007. <i><a href="/wiki/The_Rest_Is_Noise" title="The Rest Is Noise">The Rest Is Noise</a>: Listening to the Twentieth Century</i>. New York: Farrar, Straus and Giroux, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-374-24939-7" title="Special:BookSources/978-0-374-24939-7">978-0-374-24939-7</a>.</li> <li><a href="/wiki/Leon_Samuel_Roudiez" title="Leon Samuel Roudiez">Roudiez, Leon S.</a> 1984. "Un texte perturbe: <i>Matière de rêves</i> de Michel Butor". <i>Romanic Review</i> 75, no. 2:242–255.</li> <li>Savage, Roger W. H. 1989. <i>Structure and Sorcery: The Aesthetics of Post-War Serial Composition and Indeterminacy</i>. Outstanding Dissertations in Music from British Universities. New York: Garland Publications. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8240-2041-3" title="Special:BookSources/0-8240-2041-3">0-8240-2041-3</a>.</li> <li>Schwartz, Steve. 2001. "<a rel="nofollow" class="external text" href="http://www.classical.net/music/recs/reviews/p/phx00112a.php">Richard Yardumian: Orchestral Works</a>". Classical Net. <span class="reference-accessdate">Retrieved 10 May 2011<span style="font-size: 90%; color: #555"></span>.</span></li> <li><a href="/wiki/Roger_Scruton" title="Roger Scruton">Scruton, Roger</a>. 1997. <i>Aesthetics of Music</i>. Oxford: Clarendon Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-816638-9" title="Special:BookSources/0-19-816638-9">0-19-816638-9</a>. Quoted in Arved Ashbey, <i>The Pleasure of Modernist Music</i> (University of Rochester Press, 2004) p. 122. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-58046-143-3" title="Special:BookSources/1-58046-143-3">1-58046-143-3</a>.</li> <li><a href="/wiki/Reginald_Smith_Brindle" title="Reginald Smith Brindle">Smith Brindle, Reginald</a>. 1966. <i>Serial Composition</i>. London, New York: Oxford University Press.</li> <li>Spencer, Michael Clifford. 1974. <i>Michel Butor</i>. Twayne's World Author Series TWS275. New York: Twayne Publishers. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780805721867" title="Special:BookSources/9780805721867">9780805721867</a>.</li> <li>Straus, Joseph N. 1999. "<a rel="nofollow" class="external text" href="https://archive.today/20130113024345/http://mq.oxfordjournals.org/content/83/3/301.full.pdf+html">The Myth of Serial 'Tyranny' in the 1950s and 1960s</a>" (Subscription access). <i><a href="/wiki/The_Musical_Quarterly" title="The Musical Quarterly">The Musical Quarterly</a></i> 83:301–343.</li> <li><a href="/w/index.php?title=Robert_Wangerm%C3%A9e&action=edit&redlink=1" class="new" title="Robert Wangermée (page does not exist)">Wangermée, Robert</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://fr.wikipedia.org/wiki/Robert_Wangerm%C3%A9e" class="extiw" title="fr:Robert Wangermée">fr</a>; <a href="https://nl.wikipedia.org/wiki/Robert_Wangerm%C3%A9e" class="extiw" title="nl:Robert Wangermée">nl</a>]</span>. 1995. <i>André Souris et le complexe d'Orphée: entre surréalisme et musique sérielle</i>. Collection Musique, Musicologie. Liège: P. Mardaga. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9782870096055" title="Special:BookSources/9782870096055">9782870096055</a>.</li> <li><a href="/w/index.php?title=Eric_Walter_White&action=edit&redlink=1" class="new" title="Eric Walter White (page does not exist)">White, Eric Walter</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://nl.wikipedia.org/wiki/Eric_Walter_White" class="extiw" title="nl:Eric Walter White">nl</a>]</span> and <a href="/wiki/Jeremy_Noble_(musicologist)" title="Jeremy Noble (musicologist)">Jeremy Noble</a>. 1984. "Stravinsky". In <i>The New Grove Modern Masters</i>. London: Macmillan.</li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Serialism&action=edit&section=14" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output 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title="Special:EditPage/Template:Atonality"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Atonality_and_post-tonality145" style="font-size:114%;margin:0 4em"><a href="/wiki/Atonality" title="Atonality">Atonality</a> and <a href="/wiki/Post-tonal_music_theory" title="Post-tonal music theory">post-tonality</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Scales and<br /> tuning</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Equal_temperament" title="Equal temperament">Equal temperament</a></li> <li><a href="/wiki/Mode_of_limited_transposition" title="Mode of limited transposition">Mode of limited transposition</a></li> <li><a href="/wiki/Mystic_chord" title="Mystic chord">Mystic chord</a></li> <li><a href="/wiki/Octatonic_scale" title="Octatonic scale">Octatonic scale</a></li> <li><a href="/wiki/Whole-tone_scale" title="Whole-tone scale">Whole-tone scale</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Genres and<br /> schools</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a> <ul><li><a href="/wiki/Tone_row" title="Tone row">Row</a></li> <li><a href="/wiki/List_of_tone_rows_and_series" title="List of tone rows and series">List</a></li></ul></li> <li><a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a></li> <li><a class="mw-selflink selflink">Serialism</a></li> <li><a href="/wiki/Spectral_music" title="Spectral music">Spectral music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Techniques<br /> and concepts</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Chromaticism" title="Chromaticism">Chromaticism</a></li> <li><a href="/wiki/Cyclic_set" title="Cyclic set">Cyclic set</a></li> <li><a href="/wiki/Dissonant_counterpoint" class="mw-redirect" title="Dissonant counterpoint">Dissonant counterpoint</a></li> <li><a href="/wiki/Dynamic_tonality" title="Dynamic tonality">Dynamic tonality</a></li> <li><a href="/wiki/Emancipation_of_the_dissonance" title="Emancipation of the dissonance">Emancipation of the dissonance</a></li> <li><i><a href="/wiki/Klangfarbenmelodie" title="Klangfarbenmelodie">Klangfarbenmelodie</a></i></li> <li><a href="/wiki/Polymodal_chromaticism" title="Polymodal chromaticism">Polymodal chromaticism</a></li> <li><a href="/wiki/Polytonality" title="Polytonality">Polytonality</a> <ul><li><a href="/wiki/Distance_model" title="Distance model">Distance model</a></li></ul></li> <li><a href="/wiki/Quartal_and_quintal_harmony" title="Quartal and quintal harmony">Quartal and quintal harmony</a></li> <li><a href="/wiki/Tone_Clock" class="mw-redirect" title="Tone Clock">Tone Clock</a></li> <li><a href="/wiki/Tone_cluster" title="Tone cluster">Tone cluster</a></li> <li><a href="/wiki/Unified_field" title="Unified field">Unified field</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Compositions</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_atonal_compositions" title="List of atonal compositions">List of atonal compositions</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Avant-garde_movements116" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Avant-garde" title="Template:Avant-garde"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Avant-garde" title="Template talk:Avant-garde"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Avant-garde" title="Special:EditPage/Template:Avant-garde"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Avant-garde_movements116" style="font-size:114%;margin:0 4em"><a href="/wiki/Avant-garde" title="Avant-garde">Avant-garde</a> movements</div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Visual art</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Abstract_expressionism" title="Abstract expressionism">Abstract expressionism</a></li> <li><a href="/wiki/Art_Nouveau" title="Art Nouveau">Art Nouveau</a></li> <li><a href="/wiki/Art_%26_Language" title="Art & Language">Art & Language</a></li> <li><a href="/wiki/Conceptual_art" title="Conceptual art">Conceptual art</a></li> <li><a href="/wiki/Constructivism_(art)" title="Constructivism (art)">Constructivism</a></li> <li><a href="/wiki/Proto-Cubism" title="Proto-Cubism">Proto-Cubism</a></li> <li><a href="/wiki/Cubism" title="Cubism">Cubism</a></li> <li><a href="/wiki/Functionalism_(architecture)" title="Functionalism (architecture)">Functionalism</a> <ul><li><a href="/wiki/Bauhaus" title="Bauhaus">Bauhaus</a></li></ul></li> <li><a href="/wiki/Grosvenor_School" class="mw-redirect" title="Grosvenor School">Grosvenor School</a></li> <li><a href="/wiki/Dev%C4%9Btsil" title="Devětsil">Devětsil</a></li> <li><a href="/wiki/Divisionism" title="Divisionism">Divisionism</a></li> <li><a href="/wiki/Fauvism" title="Fauvism">Fauvism</a></li> <li><a href="/wiki/Impressionism" title="Impressionism">Impressionism</a></li> <li><a href="/wiki/Neo-Impressionism" title="Neo-Impressionism">Neo-Impressionism</a></li> <li><a href="/wiki/Post-Impressionism" title="Post-Impressionism">Post-Impressionism</a></li> <li><a href="/wiki/Color_Field" class="mw-redirect" title="Color Field">Color Field</a></li> <li><a href="/wiki/Incoherents" title="Incoherents">Incoherents</a></li> <li><a href="/wiki/Lyrical_abstraction" title="Lyrical abstraction">Lyrical Abstraction</a></li> <li><a href="/wiki/Mail_art" title="Mail art">Mail art</a></li> <li><a href="/wiki/Minimalism_(visual_arts)" title="Minimalism (visual arts)">Minimalism</a></li> <li><a href="/wiki/Mir_iskusstva" title="Mir iskusstva">Mir iskusstva</a></li> <li><a href="/wiki/Multidimensional_art" title="Multidimensional art">Multidimensional art</a></li> <li><a href="/wiki/Neoplasticism" title="Neoplasticism">Neoplasticism</a> <ul><li><a href="/wiki/De_Stijl" title="De Stijl">De Stijl</a></li></ul></li> <li><a href="/wiki/Neue_Slowenische_Kunst" title="Neue Slowenische Kunst">Neue Slowenische Kunst</a></li> <li><a href="/wiki/Soviet_Nonconformist_Art" class="mw-redirect" title="Soviet Nonconformist Art">Nonconformism</a></li> <li><a href="/wiki/Nouveau_r%C3%A9alisme" title="Nouveau réalisme">Nouveau réalisme</a></li> <li><a href="/wiki/Orphism_(art)" title="Orphism (art)">Orphism</a></li> <li><a href="/wiki/Performance_art" title="Performance art">Performance art</a></li> <li><a href="/wiki/Pop_art" title="Pop art">Pop art</a></li> <li><a href="/wiki/Process_art" title="Process art">Process art</a></li> <li><a href="/wiki/Purism" title="Purism">Purism</a></li> <li><a href="/wiki/Rayonism" title="Rayonism">Rayonism</a></li> <li><a href="/wiki/Suprematism" title="Suprematism">Suprematism</a></li> <li><a href="/wiki/Temporary_art" class="mw-redirect" title="Temporary art">Temporary art</a></li> <li><a href="/wiki/Vorticism" title="Vorticism">Vorticism</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Literature<br />and poetry</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acmeist_poetry" title="Acmeist poetry">Acmeism</a></li> <li><a href="/wiki/Angry_Penguins" title="Angry Penguins">Angry Penguins</a></li> <li><a href="/wiki/Asemic_writing" title="Asemic writing">Asemic writing</a></li> <li><a href="/wiki/Conceptual_writing" title="Conceptual writing">Conceptual poetry</a></li> <li><a href="/wiki/Cyberpunk" title="Cyberpunk">Cyberpunk</a></li> <li><a href="/wiki/Ego-Futurism" title="Ego-Futurism">Ego-Futurism</a></li> <li><a href="/wiki/Experimental_literature" title="Experimental literature">Experimental literature</a></li> <li><a href="/wiki/Flarf_poetry" title="Flarf poetry">Flarf poetry</a></li> <li><a href="/wiki/Hungry_generation" title="Hungry generation">Hungry generation</a></li> <li><a href="/wiki/Imaginism" title="Imaginism">Imaginism</a></li> <li><a href="/wiki/Imagism" title="Imagism">Imagism</a></li> <li><a href="/wiki/Language_poets" title="Language poets">Language poets</a></li> <li><a href="/wiki/Neoavanguardia" title="Neoavanguardia">Neoavanguardia</a></li> <li><a href="/wiki/Neoteric" title="Neoteric">Neoteric</a></li> <li><a href="/wiki/Nouveau_roman" title="Nouveau roman">Nouveau roman</a></li> <li><a href="/wiki/Oberiu" title="Oberiu">Oberiu</a></li> <li><a href="/wiki/Oulipo" title="Oulipo">Oulipo</a></li> <li><a href="/wiki/Slam_poetry" class="mw-redirect" title="Slam poetry">Slam poetry</a></li> <li><a href="/wiki/Ultraist_movement" title="Ultraist movement">Ultraísmo</a></li> <li><a href="/wiki/Visual_poetry" title="Visual poetry">Visual poetry</a></li> <li><a href="/wiki/Zaum" title="Zaum">Zaum</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Avant-garde_music" title="Avant-garde music">Music</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">By style</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Avant-funk" title="Avant-funk">Funk</a></li> <li><a href="/wiki/Avant-garde_jazz" title="Avant-garde jazz">Jazz</a> <ul><li><a href="/wiki/Free_funk" title="Free funk">Free funk</a></li> <li><a href="/wiki/Yass_(music)" title="Yass (music)">Yass</a></li></ul></li> <li><a href="/wiki/Avant-pop" title="Avant-pop">Pop</a></li> <li><a href="/wiki/Experimental_rock" title="Experimental rock">Rock</a> <ul><li><a href="/wiki/Avant-prog" title="Avant-prog">Prog</a></li> <li><a href="/wiki/Avant-punk" title="Avant-punk">Punk</a></li> <li><a href="/wiki/Avant-garde_metal" title="Avant-garde metal">Metal</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Others</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Aleatoric_music" title="Aleatoric music">Aleatoric music</a></li> <li><a href="/wiki/Ars_nova" title="Ars nova">Ars nova</a></li> <li><a href="/wiki/Ars_subtilior" title="Ars subtilior">Ars subtilior</a></li> <li><a href="/wiki/Atonality" title="Atonality">Atonal music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a></li> <li><a href="/wiki/Electronic_music" title="Electronic music">Electronic music</a> <ul><li><a href="/wiki/Industrial_music" title="Industrial music">Industrial music</a></li></ul></li> <li><a href="/wiki/Experimental_pop" title="Experimental pop">Experimental pop</a></li> <li><a href="/wiki/Free_jazz" title="Free jazz">Free jazz</a> <ul><li><a href="/wiki/Free_improvisation" title="Free improvisation">Free improvisation</a></li></ul></li> <li><a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurism</a></li> <li><a href="/wiki/Microtonal_music" class="mw-redirect" title="Microtonal music">Microtonal music</a></li> <li><a href="/wiki/Minimal_music" title="Minimal music">Minimal music</a> <ul><li><a href="/wiki/Drone_music" title="Drone music">Drone music</a></li></ul></li> <li><a href="/wiki/Music_theatre" title="Music theatre">Music theatre</a></li> <li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></li> <li><a href="/wiki/New_Complexity" title="New Complexity">New Complexity</a></li> <li><a href="/wiki/No_wave" title="No wave">No wave</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise music</a></li> <li><a href="/wiki/Post-rock" title="Post-rock">Post-rock</a></li> <li><a href="/wiki/Rock_in_Opposition" title="Rock in Opposition">Rock in Opposition</a></li> <li><a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a></li> <li><a class="mw-selflink selflink">Serialism</a></li> <li><a href="/wiki/Spectral_music" title="Spectral music">Spectral music</a></li> <li><a href="/wiki/Stochastic#Music" title="Stochastic">Stochastic music</a></li> <li><a href="/wiki/Sound_mass" title="Sound mass">Textural music</a></li> <li><a href="/wiki/Totalism" title="Totalism">Totalism</a></li> <li><a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Cinema<br />and theatre</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Cin%C3%A9ma_pur" class="mw-redirect" title="Cinéma pur">Cinéma pur</a></li> <li><a href="/wiki/Dogme_95" title="Dogme 95">Dogme 95</a></li> <li><a href="/wiki/Drop_Art" title="Drop Art">Drop Art</a></li> <li><a href="/wiki/Epic_theatre" title="Epic theatre">Epic theatre</a></li> <li><a href="/wiki/Experimental_film" title="Experimental film">Experimental film</a></li> <li><a href="/wiki/Experimental_theatre" title="Experimental theatre">Experimental theatre</a></li> <li><a href="/wiki/Modernist_film" title="Modernist film">Modernist film</a></li> <li><a href="/wiki/Poetic_realism" title="Poetic realism">Poetic realism</a></li> <li><a href="/wiki/Postdramatic_theatre" title="Postdramatic theatre">Postdramatic theatre</a></li> <li><a href="/wiki/Remodernist_film" title="Remodernist film">Remodernist film</a></li> <li><a href="/wiki/Structural_film" title="Structural film">Structural film</a></li> <li><a href="/wiki/Theatre_of_the_Absurd" class="mw-redirect" title="Theatre of the Absurd">Theatre of the Absurd</a></li> <li><a href="/wiki/Theatre_of_Cruelty" title="Theatre of Cruelty">Theatre of Cruelty</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">General</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Constructivism_(art)" title="Constructivism (art)">Constructivism</a></li> <li><a href="/wiki/Dada" title="Dada">Dada</a></li> <li><a href="/wiki/Expressionism" title="Expressionism">Expressionism</a></li> <li><a href="/wiki/Fluxus" title="Fluxus">Fluxus</a></li> <li><a href="/wiki/Futurism" title="Futurism">Futurism</a> <ul><li><a href="/wiki/Russian_Futurism" title="Russian Futurism">Russian Futurism</a> <ul><li><a href="/wiki/Cubo-Futurism" title="Cubo-Futurism">Cubo-Futurism</a></li></ul></li></ul></li> <li><a href="/wiki/Lettrism" title="Lettrism">Lettrism</a></li> <li><a href="/wiki/Modernism" title="Modernism">Modernism</a></li> <li><a href="/wiki/Minimalism" title="Minimalism">Minimalism</a></li> <li><a href="/wiki/Postminimalism" title="Postminimalism">Postminimalism</a></li> <li><a href="/wiki/Neo-minimalism" title="Neo-minimalism">Neo-minimalism</a></li> <li><a href="/wiki/Neo-Dada" title="Neo-Dada">Neo-Dada</a></li> <li><a href="/wiki/Neoism" title="Neoism">Neoism</a></li> <li><a href="/wiki/Postmodernism" title="Postmodernism">Postmodernism</a> <ul><li><a href="/wiki/Postmodernist_film" title="Postmodernist film">Postmodernist film</a></li></ul></li> <li><a href="/wiki/Late_modernism" title="Late modernism">Late modernism</a></li> <li><a href="/wiki/Primitivism" title="Primitivism">Primitivism</a></li> <li><a href="/wiki/Situationist_International" title="Situationist International">Situationist International</a></li> <li><a href="/wiki/Social_realism" title="Social realism">Social realism</a></li> <li><a href="/wiki/Socialist_realism" title="Socialist realism">Socialist realism</a></li> <li><a href="/wiki/Surrealism" title="Surrealism">Surrealism</a></li> <li><a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolism</a> <ul><li><a href="/wiki/Russian_symbolism" title="Russian symbolism">Russian symbolism</a></li></ul></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Modernist_music517" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Modernism_(music)" title="Template:Modernism (music)"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Modernism_(music)" title="Template talk:Modernism (music)"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Modernism_(music)" title="Special:EditPage/Template:Modernism (music)"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Modernist_music517" style="font-size:114%;margin:0 4em"><a href="/wiki/Modernism_(music)" title="Modernism (music)">Modernist music</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/List_of_modernist_composers" title="List of modernist composers">List of modernist composers</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Composers</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Europe</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>Austria <ul><li><a href="/wiki/Alban_Berg" title="Alban Berg">Berg</a></li> <li><a href="/wiki/Ernst_Krenek" title="Ernst Krenek">Krenek</a></li> <li><a href="/wiki/Gustav_Mahler" title="Gustav Mahler">Mahler</a></li> <li><a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Schoenberg</a></li> <li><a href="/wiki/Anton_Webern" title="Anton Webern">Webern</a></li></ul></li> <li>Belgium <ul><li><a href="/wiki/Henri_Pousseur" title="Henri Pousseur">Pousseur</a></li></ul></li> <li>Czechia <ul><li><a href="/wiki/Alois_H%C3%A1ba" title="Alois Hába">Hába</a></li></ul></li> <li>France <ul><li><a href="/wiki/Pierre_Henry" title="Pierre Henry">Henry</a></li> <li><a href="/wiki/Andr%C3%A9_Jolivet" title="André Jolivet">Jolivet</a></li> <li><a href="/wiki/Charles_Koechlin" title="Charles Koechlin">Koechlin</a></li> <li><a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Messiaen</a></li> <li><a href="/wiki/Darius_Milhaud" title="Darius Milhaud">Milhaud</a></li> <li><a href="/wiki/Francis_Poulenc" title="Francis Poulenc">Poulenc</a></li> <li><a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Varèse</a></li></ul></li> <li>Germany <ul><li><a href="/wiki/Max_Reger" title="Max Reger">Reger</a></li> <li><a href="/wiki/Richard_Strauss" title="Richard Strauss">Strauss</a></li></ul></li> <li>Greece <ul><li><a href="/wiki/Nikos_Skalkottas" title="Nikos Skalkottas">Skalkottas</a></li></ul></li> <li>Hungary <ul><li><a href="/wiki/B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Bartók</a></li></ul></li> <li>Poland <ul><li><a href="/wiki/Karol_Szymanowski" title="Karol Szymanowski">Szymanowski</a></li></ul></li> <li>Russia <ul><li><a href="/wiki/Sergei_Prokofiev" title="Sergei Prokofiev">Prokofiev</a></li> <li><a href="/wiki/Alexander_Scriabin" title="Alexander Scriabin">Scriabin</a></li> <li><a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Stravinsky</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Americas</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>United States <ul><li><a href="/wiki/George_Antheil" title="George Antheil">Antheil</a></li> <li><a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Babbitt</a></li> <li><a href="/wiki/Elliott_Carter" title="Elliott Carter">Carter</a></li> <li><a href="/wiki/Henry_Cowell" title="Henry Cowell">Cowell</a></li> <li><a href="/wiki/Charles_Ives" title="Charles Ives">Ives</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Genres and<br />techniques</div></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Atonality" title="Atonality">Atonality</a></li> <li><a href="/wiki/Experimental_music" title="Experimental music">Experimental</a></li> <li><a href="/wiki/Expressionist_music" title="Expressionist music">Expressionism</a></li> <li><a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurism</a></li> <li><a href="/wiki/Microtonal_music" class="mw-redirect" title="Microtonal music">Microtonal</a></li> <li><a href="/wiki/Mode_of_limited_transposition" title="Mode of limited transposition">Modes of limited transposition</a></li> <li><a href="/wiki/Neotonality" title="Neotonality">Neotonality</a></li> <li><a href="/wiki/New_Complexity" title="New Complexity">New Complexity</a></li> <li><a href="/wiki/New_Objectivity" title="New Objectivity">New Objectivity</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise</a></li> <li><a href="/wiki/Pandiatonicism" title="Pandiatonicism">Pandiatonicism</a></li> <li><a href="/wiki/Polyrhythm" title="Polyrhythm">Polyrhythms</a></li> <li><a href="/wiki/Polytonality" title="Polytonality">Polytonality</a></li> <li><a href="/wiki/Post-romanticism" title="Post-romanticism">Post-romanticism</a></li> <li><a href="/wiki/Process_music" title="Process music">Process</a></li> <li><a href="/wiki/Quartal_and_quintal_harmony" title="Quartal and quintal harmony">Quartal and quintal harmony</a></li> <li><a class="mw-selflink selflink">Serialism</a></li> <li><a href="/wiki/Sound_mass" title="Sound mass">Sound mass</a></li> <li><a href="/wiki/Spectral_music" title="Spectral music">Spectral</a></li> <li><a href="/wiki/Stochastic" title="Stochastic">Stochastic</a></li> <li><a href="/wiki/Surrealist_music" title="Surrealist music">Surrealism</a></li> <li><a href="/wiki/Tone_cluster" title="Tone cluster">Tone cluster</a></li> <li><a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Schools of composition</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a></li> <li><a href="/wiki/Darmstadt_School" title="Darmstadt School">Darmstadt School</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><div style="float: left;"> ←<b> <a href="/wiki/Template:Romantic_music" title="Template:Romantic music">Romantic music</a></b></div> <ul><li><span class="noviewer" typeof="mw:File"><span title="Category"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/31px-Symbol_category_class.svg.png 2x" data-file-width="180" data-file-height="185" /></span></span> <a href="/wiki/Category:Modernism_(music)" title="Category:Modernism (music)">Category</a></li> <li><span class="noviewer" typeof="mw:File"><a href="/wiki/File:Symbol_portal_class.svg" class="mw-file-description" title="Portal"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e2/Symbol_portal_class.svg/20px-Symbol_portal_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e2/Symbol_portal_class.svg/40px-Symbol_portal_class.svg.png 1.5x" data-file-width="180" data-file-height="185" /></a></span> <a href="/wiki/Portal:Classical_music" title="Portal:Classical music">Portal</a></li></ul></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Twelve-tone_technique_and_serialism296" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3" style="background:#dbc3a3;"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Twelve-tone_technique" title="Template:Twelve-tone technique"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Twelve-tone_technique" title="Template talk:Twelve-tone technique"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Twelve-tone_technique" title="Special:EditPage/Template:Twelve-tone technique"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Twelve-tone_technique_and_serialism296" style="font-size:114%;margin:0 4em"><a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a> and <a class="mw-selflink selflink">serialism</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Fundamentals</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Combinatoriality" title="Combinatoriality">Combinatoriality</a></li> <li><a href="/wiki/Complement_(music)" title="Complement (music)">Complementation</a></li> <li><a href="/wiki/Derived_row" title="Derived row">Derivation</a></li> <li><a href="/wiki/Hexachord" title="Hexachord">Hexachord</a></li> <li><a href="/wiki/Interval_class" title="Interval class">Interval class</a></li> <li><a href="/wiki/Twelve-tone_technique#Invariance" title="Twelve-tone technique">Invariance</a></li> <li><a href="/wiki/Derived_row" title="Derived row">Partition</a> <ul><li><a href="/wiki/Cross_partition" class="mw-redirect" title="Cross partition">Cross partition</a></li></ul></li> <li><a href="/wiki/Tone_row" title="Tone row">Tone row</a> <ul><li><a href="/wiki/Tone_row#total_chromatic" title="Tone row">Aggregate</a></li> <li><a href="/wiki/List_of_tone_rows_and_series" title="List of tone rows and series">List</a></li></ul></li></ul> </div></td><td class="noviewer navbox-image" rowspan="4" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/File:Mutterakkord.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4e/Mutterakkord.png/54px-Mutterakkord.png" decoding="async" width="54" height="126" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4e/Mutterakkord.png/81px-Mutterakkord.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4e/Mutterakkord.png/108px-Mutterakkord.png 2x" data-file-width="1575" data-file-height="3675" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;"><a href="/wiki/Permutation_(music)" title="Permutation (music)">Permutations</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Twelve-tone_technique#Transformations" title="Twelve-tone technique">Prime row</a></li> <li><a href="/wiki/Retrograde_(music)" title="Retrograde (music)">Retrograde</a></li> <li><a href="/wiki/Melodic_inversion" class="mw-redirect" title="Melodic inversion">Inversion</a></li> <li><a href="/wiki/Retrograde_inversion" title="Retrograde inversion">Retrograde inversion</a></li> <li><a href="/wiki/Multiplication_(music)" title="Multiplication (music)">Multiplication</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;"><a href="/wiki/Template:Twelve-tone_composers" title="Template:Twelve-tone composers">Notable<br /> composers</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a></li> <li><a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a></li> <li><a href="/wiki/Josef_Matthias_Hauer" title="Josef Matthias Hauer">Josef Matthias Hauer</a></li> <li><a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a> <ul><li><a href="/wiki/Alban_Berg" title="Alban Berg">Alban Berg</a></li> <li><a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a></li> <li><a href="/wiki/Anton_Webern" title="Anton Webern">Anton Webern</a></li></ul></li> <li><a href="/wiki/Charles_Wuorinen" title="Charles Wuorinen">Charles Wuorinen</a></li> <li>...<i><a class="mw-selflink-fragment" href="#Notable_composers">more</a></i>...</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Related articles</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/All-interval_twelve-tone_row" title="All-interval twelve-tone row">All-interval twelve-tone row</a></li> <li><a href="/wiki/All-trichord_hexachord" title="All-trichord hexachord">All-trichord hexachord</a></li> <li><a href="/wiki/Atonality" title="Atonality">Atonality</a></li> <li><a href="/wiki/Chromatic_scale" title="Chromatic scale">Chromatic scale</a></li> <li><a href="/wiki/Duration_series" title="Duration series">Duration series</a></li> <li><a href="/wiki/Equivalence_class_(music)" title="Equivalence class (music)">Equivalence</a></li> <li><a href="/wiki/Formula_composition" title="Formula composition">Formula composition</a></li> <li><a href="/wiki/Modernism_(music)" title="Modernism (music)">Modernism (music)</a></li> <li><a href="/wiki/Punctualism" title="Punctualism">Punctualism</a></li> <li><a href="/wiki/Semitone" title="Semitone">Semitone</a></li> <li><a href="/wiki/Set_theory_(music)" title="Set theory (music)">Set theory</a></li> <li><a href="/wiki/Time_point" title="Time point">Time point</a></li> <li><a href="/wiki/Trope_(music)" title="Trope (music)">Trope</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="3"><div><span class="noviewer" typeof="mw:File"><span title="List-Class article"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/d/db/Symbol_list_class.svg/16px-Symbol_list_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/d/db/Symbol_list_class.svg/23px-Symbol_list_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/d/db/Symbol_list_class.svg/31px-Symbol_list_class.svg.png 2x" data-file-width="180" data-file-height="185" /></span></span> <a href="/wiki/List_of_dodecaphonic_and_serial_compositions" title="List of dodecaphonic and serial compositions">List of dodecaphonic and serial compositions</a></div></td></tr></tbody></table></div> <div 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<script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.eqiad.main-d6f4c4464-fp4bs","wgBackendResponseTime":217,"wgPageParseReport":{"limitreport":{"cputime":"1.707","walltime":"2.080","ppvisitednodes":{"value":17353,"limit":1000000},"postexpandincludesize":{"value":184837,"limit":2097152},"templateargumentsize":{"value":36426,"limit":2097152},"expansiondepth":{"value":19,"limit":100},"expensivefunctioncount":{"value":15,"limit":500},"unstrip-depth":{"value":1,"limit":20},"unstrip-size":{"value":182720,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 1794.050 1 -total"," 18.71% 335.747 72 Template:Sfn"," 13.68% 245.337 53 Template:Wikicite"," 11.59% 207.977 30 Template:ISBN"," 9.87% 177.027 4 Template:Lang"," 9.41% 168.802 15 Template:Fix"," 8.98% 161.065 12 Template:Cn"," 8.80% 157.822 6 Template:Navbox"," 7.96% 142.795 1 Template:Reflist"," 6.89% 123.663 1 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[\"CITEREFJalowetz1944\"] = 1,\n [\"CITEREFKeller1955\"] = 1,\n [\"CITEREFKoenig1999\"] = 1,\n [\"CITEREFKohl2002\"] = 1,\n [\"CITEREFKrumhansl,_Sandell_\u0026amp;_Sergeant1987\"] = 1,\n [\"CITEREFLeibowitz1947\"] = 1,\n [\"CITEREFLeray2008\"] = 1,\n [\"CITEREFLerdahl1988\"] = 1,\n [\"CITEREFLocanto2010\"] = 1,\n [\"CITEREFMaconie2005\"] = 1,\n [\"CITEREFMead1985\"] = 1,\n [\"CITEREFMoore1995\"] = 1,\n [\"CITEREFMorgan1975\"] = 1,\n [\"CITEREFMosch2004\"] = 1,\n [\"CITEREFNewlin1974\"] = 1,\n [\"CITEREFPerle1977\"] = 1,\n [\"CITEREFPousseur1959\"] = 1,\n [\"CITEREFPousseur1970\"] = 1,\n [\"CITEREFPousseur1997\"] = 1,\n [\"CITEREFRuwet1959\"] = 1,\n [\"CITEREFSabbe1977\"] = 1,\n [\"CITEREFSchoenberg1975\"] = 1,\n [\"CITEREFSchoffman1981\"] = 1,\n [\"CITEREFShatzkin1977\"] = 1,\n [\"CITEREFSherlaw_Johnson1989\"] = 1,\n [\"CITEREFSteinberg1998\"] = 1,\n [\"CITEREFStockhausen_and_Frisius1998\"] = 1,\n [\"CITEREFStraus2008\"] = 1,\n [\"CITEREFSykora1983\"] = 1,\n [\"CITEREFTick2001\"] = 1,\n [\"CITEREFWaelti-Walters1992\"] = 1,\n [\"CITEREFWalker1986\"] = 1,\n [\"CITEREFWhittall2008\"] = 1,\n [\"CITEREFWörner1973\"] = 1,\n}\ntemplate_list = table#1 {\n [\"Access-date\"] = 2,\n [\"Atonality\"] = 1,\n [\"Authority control\"] = 1,\n [\"Avant-garde\"] = 1,\n [\"Citation needed\"] = 1,\n [\"Cite journal\"] = 5,\n [\"Cite web\"] = 1,\n [\"Cn\"] = 12,\n [\"Div col\"] = 3,\n [\"Div col end\"] = 3,\n [\"Doi\"] = 2,\n [\"For\"] = 1,\n [\"Further\"] = 1,\n [\"Harvid\"] = 53,\n [\"ISBN\"] = 30,\n [\"Ill\"] = 2,\n [\"Interlanguage link\"] = 2,\n [\"JSTOR\"] = 1,\n [\"Lang\"] = 4,\n [\"Main\"] = 1,\n [\"Modernism (music)\"] = 1,\n [\"Page needed\"] = 2,\n [\"Quote\"] = 1,\n [\"Quote box\"] = 1,\n [\"Reflist\"] = 1,\n [\"See also\"] = 2,\n [\"Sfn\"] = 72,\n [\"Short description\"] = 1,\n [\"Sic\"] = 1,\n [\"Twelve-tone technique\"] = 1,\n [\"Unsourced section\"] = 1,\n [\"Use dmy dates\"] = 1,\n [\"Wikicite\"] = 53,\n [\"Wikiquote\"] = 1,\n}\narticle_whitelist = table#1 {\n}\nciteref_patterns = table#1 {\n}\n"},"cachereport":{"origin":"mw-web.eqiad.main-65bf7dbd64-vdsn6","timestamp":"20250325193540","ttl":2592000,"transientcontent":false}}});});</script> <script type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"Article","name":"Serialism","url":"https:\/\/en.wikipedia.org\/wiki\/Serialism","sameAs":"http:\/\/www.wikidata.org\/entity\/Q507246","mainEntity":"http:\/\/www.wikidata.org\/entity\/Q507246","author":{"@type":"Organization","name":"Contributors to Wikimedia projects"},"publisher":{"@type":"Organization","name":"Wikimedia Foundation, Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2002-10-03T15:51:39Z","dateModified":"2025-03-19T17:25:33Z","headline":"musical method or technique of composition"}</script> </body> </html>