Roman numeral 10000 CC DD.svg

Serialismus

E Vicipaedia
Salire ad: navigationem, quaerere
Arnoldus Schoenberg, 1948

Serialismus est musicae compositionis ratio,[1] quae serie valorum utitur ad tractanda varia elementa musica. Serialismus plerumque in ratione duodecim tonorum Arnoldi Schoenberg coepit, quamquam eius aequales etiam operam dabant, ut serialismum statuerent exemplum cogitationis posttonalis.[2] Ratio duodecim tonorum ordinat duodecim gradús chromatici tonos ut series vel ordo generetur et fundamenta coniungentia compositionis melodiae, harmoniae, progressionum structurae, et variationum praebeatur. Alia serialismi genera copiis (conlectionibus rerum) utuntur, sed non semper in seriebus ordinis ficti, et rationem ad alias musicae dimensiones (quae parametra appellari possunt) propagant, sicut duratio, dynamica, et timbre. Notio serialismi etiam variis modis artibus oculorum, descriptio, et architecturae adhibetur.[3] Usus musicus vocabuli seriei cum vocabulo serie in mathematica non confundendus est.

Serialismus integer, vel serialismus totus, est usus seriei pro aspectibus sicut duratio, dynamica, registrum, et sonus.[4] Alia vocabula, praecipue in Europa ad distinguendam musicam serialem post secundum bellum mundanum in musica tonorum duodecim et eius propagationibus Americanis adhibita, sunt serialismus generalis et serialismus multiplex.[5]

Arnoldus Schoenberg, Antonius Webern, Albanus Berg, Carolus Henricus Stockhausen, Petrus Boulez, Ludovicus Nono, Milton Babbitt, Ioannes Barraqué, et aliis rationibus serialibus in plurimo eorum musica usi sunt. Alii compositores, inter quos Béla Bartók, Lucianus Berio, Beniaminus Britten, Aaron Copland, Olivarius Messiaen, Arvo Pärt, Gualterius Piston, Ned Rorem, Alfredus Schnittke, Demetrius Szostakowicz, Inguarus Strawinski, et adeo nonnulli compositores iaz, sicut Iosephus Lateef et Guilelmus Evans, serialismo solum in paucis eorum compositionum, vel solum in partibus eorum rerum, usi sunt.

Compositores notabiles[recensere | fontem recensere]

Inter compositores qui suis compositionibus insigniter serialismum adhibent sunt:

Notae[recensere | fontem recensere]

  1. Griffiths 2001:116.
  2. Whittall 2008:1.
  3. Bandur 2001:5, 12, 74; Gerstner 1964 passim.
  4. Whittall 2008:273.
  5. Grant 2001:5–6.

Bibliographia[recensere | fontem recensere]

  • Anon. [n.d.]. Arnold Schoenberg. Milken Archive of American Jewish Music.
  • Bandur, Markus. 2001. Aesthetics of Total Serialism: Contemporary Research from Music to Architecture. Basel, Bostoniae, Berolini: Birkhäuser.
  • Bochner, Mel. 1967. The Serial Attitude. Artforum 6(4): 28–33.
  • Cott, Jonathan. 1973. Stockhausen; Conversations with the Composer. Novi Eboraci: Simon & Schuster.
  • Delahoyd, Michael. N.d. 20th-Century Music. Situs auctoris, Washington State University.
  • Felder, David. 1977. An Interview with Karlheinz Stockhausen. Perspectives of New Music 16(1): 85–101.
  • Forte, Allen. 1964. Theory of Set-Complexes for Music. Journal of Music Theory 8(2): 136-84.
  • Forte, Allen. 1973. The Structure of Atonal Music. Portu Novo et Londinii: Yale University Press.
  • Forte, Allen. 1998. The Atonal Music of Anton Webern. Portu Novo: Yale University Press.
  • Frisius, Rudolf. 1998. Serielle Musik. In Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik. Editio 2a, ed. Ludwig Finscher, pars 1 (Sachteil), vol. 8 (Quer–Swi): 1327–54. Kassel &et Novi Eboraci: Bärenreiter; Stutgardiae: Metzler. ISBN 978-3-7618-1109-2 (Bärenreiter) ISBN 978-3-476-41008-5 (Metzler).
  • Gerstner, Karl. 1964, 1968. Designing Programmes: Four Essays and an Introduction, cum introductione introductioni a Paul Gredinger scripta. Liber Anglice converses a D. Q. Stephenson. Teufen, Helvetiae: Arthur Niggli. Editio nova, amplificata.
  • Grant, Morag Josephine. 2001. Serial Music Serial Aesthetics: Compositional Theory in Post-War Europe. Music in the Twentieth Century, Arnold Whitall, editor generalis. Cantabrigiae: Cambridge University Press. ISBN 0-521-80458-2.
  • Griffiths, Paul. 2001. Serialism. The New Grove Dictionary of Music and Musicians, ed.Stanley Sadie et John Tyrrell, 23:116–23. Londinii: Macmillan; Novi Eboraci: Grove's Dictionaries.
  • Guderian, Dietmar. 1985. Serielle Strukturen und harmonikale Systeme. In Vom Klang der Bilder: die Musik in der Kunst des 20. Jahrhunderts, ed. Karin von Maur, 434–37. Monaci: Prestel-Verlag.
  • Heinemann, Stephen. 1998. Pitch-Class Set Multiplication in Theory and Practice. Music Theory Spectrum 20(1) :72-96.
  • Jalowetz, Heinrich. 1944. "On the Spontaneity of Schoenberg's Music". (Situs lucrativus.) The Musical Quarterly 30(4): 385–408.
  • Keller, Hans. 1955. Strict Serial Technique in Classical Music. Tempo (series nova) no. 37 (autumno): 12-16, 21-24.
  • Leibowitz, René. 1947. Schoenberg et son école: l'étape contemporaine du langage musical. Lutetiae: J. B. Janin. (Editio Anglica, Schoenberg and His School: The Contemporary Stage in the Language of Music. Conversus a Dika Newlin. Novi Eboraci: Philosophical Library, 1949).
  • Lerdahl, Fred. 1988. Cognitive Constraints on Compositional Systems. In Generative Processes in Music, ed. John Sloboda. Oxoniae: Oxford University Press. Retractata in Contemporary Music Review 6(2, 1992):97-121.
  • Lerdahl, Fred, et Ray Jackendoff. 1983. A Generative Theory of Tonal Music. Cantabrigiae, Massachusettae: MIT Press.
  • Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronti, Oxoniae: The Scarecrow Press, Inc. ISBN 0-8108-5356-6.
  • Mead, Andrew. 1985. Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music. Perspectives of New Music 24(1): 120–57.
  • Meyer, Leonard B. 1967. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Sicagi et Londinii: University of Chicago Press. Ed. 2a, 1994.
  • Morgan, Robert. 1975. "Stockhausen's Writings on Music". (Situs lucrativus.) The Musical Quarterly 61(1: 1–16. Retractata in The Musical Quarterly 75(1991):194–206.
  • Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez’ «Le Marteau sans maître». Saarbrücken: Pfau-Verlag.
  • Newlin, Dika. 1974. Secret Tonality in Schoenberg's Piano Concerto. Perspectives of New Music 13(1): 137-139.
  • Perle, George. 1962. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Berkeleiae: University of California Press.
  • Perle, George. 1977. Twelve-tone Tonality. Berkeleiae: University of California Press.
  • Pousseur, Henri. 1959. Forme et pratique musicales. Revue Belge de Musicologie 13:98–116.
  • Ruwet, Nicolas. 1959. Contradictions du langage sériel. Revue Belge de Musicologie 13: 83–97. English trans., as Contradictions within the Serial Language. Die Reihe 6 (1964): 65–76.
  • Sabbe, Herman. 1977. 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. Ghent: Rijksuniversiteit te Gent.
  • Schoenberg, Arnold. 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Ed. Leonard Stein, conversus a Leo Black. Berkeleiae & Angelopoli: University of California Press. ISBN 0-520-05294-3.
  • Schwartz, Steve. 2001. Richard Yardumian: Orchestral Works. Classical Net.
  • Shatzkin, Merton. 1977. A Pre-Cantata Serialism in Stravinsky. Perspectives of New Music 16(1): 139–43.
  • Smith-Brindle, Reginald. 1966. Serial Composition. Londinii, Novi Eboraci: Oxford University Press.
  • Steinberg, Michael. 1998. The Symphony: A Listener's Guide. Oxoniae: Oxford University Press.
  • Stockhausen, Karlheinz, et Rudolf Frisius. 1998. Es geht aufwärts. In Karlheinz Stockhausen, Texte zur Musik 9, ed. Christoph von Blumröder, 391–512. Kürten: Stockhausen-Verlag.
  • Straus, Joseph N. 1999. The Myth of Serial 'Tyranny' in the 1950s and 1960s. (Situs lucrativus.) The Musical Quarterly' 83:301–43.
  • Sykora, Katharina. 1983. Das Phänomen des Seriellen in der Kunst: Aspekte einer künstlerischen Methode von Monet bis zur amerikanischen Pop Art. Würzburg: Könighausen + Neumann.
  • Tick, Judith. 2001. Crawford (Seeger), Ruth (Porter). The New Grove Dictionary of Music and Musicians, ed. 2a, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers.
  • Whittall, Arnold. 2008. The Cambridge Introduction to Serialism. Cambridge Introductions to Music. Novi Eboraci: Cambridge University Press. ISBN 978-0-521-86341-4 (hardback) ISBN 978-0-521-68200-8 (pbk).
  • Wörner, Karl H. 1973. Stockhausen: Life and Work, introductus, conversus, editus a Bill Hopkins. Londinii: Faber and Faber; Berkeleiae & Angelopoli: University of California Press. ISBN 0-520-02143-6.

Bibliographia addita[recensere | fontem recensere]

  • Eco, Umberto. 2005. Innovation & Repetition: Between Modern & Postmodern Aesthetics. Daedalus 134(4):191–207.
  • Gollin, Edward. 2007. Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók. Music Theory Spectrum 29(2):143–176.
  • Gredinger, Paul. 1955. Das Serielle. Die Reihe 1 ("Elektronische Musik"): 34–41. English as "Serial Technique", translated by Alexander Goehr. Die Reihe 1 ("Electronic Music"), (English edition 1958): 38–44.
  • Rahn, John. 1980. Basic Atonal Theory. Novi Eboraci: Schirmer Books.
  • Savage, Roger W. H. 1989. Structure and Sorcery: The Aesthetetics of Post-War Serial Composition and Indeterminancy. Outstanding Dissertations in Music from British Universities. New York: Garland Publications. ISBN 0-8240-2041-3.
  • Schoffman, Nathan. 1981. Serialism in the Works of Charles Ives. Tempo, new series, no. 138 (September): 21–32.
  • Scruton, Roger. 1997. Aesthetics of Music. Oxoniae: Clarendon Press. ISBN 0-19-816638-9. Quoted in Arved Ashbey, The Pleasure of Modernist Music (University of Rochester Press, 2004) p. 122. ISBN 1-58046-143-3.
  • White, Eric Walter, et Jeremy Noble. 1984. Stravinsky. In The New Grove Modern Masters. Londinii: Macmillan.

Nexus externi[recensere | fontem recensere]

Wikiquote-logo.svg Vicicitatio habet citationes quae ad Serialismus spectant.


Musica Haec stipula ad musicam spectat. Amplifica, si potes!