[226711] in SIPB-AFS-requests
A gift from God?
daemon@ATHENA.MIT.EDU (Divine Pain Relief)
Wed Mar 26 11:42:51 2025
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Date: Wed, 26 Mar 2025 16:42:48 +0100
From: "Divine Pain Relief" <DivinePainRelief@bladder911.best>
Reply-To: "Divine Pain Relief" <DivinePainRelief@bladder911.best>
Subject: A gift from God?
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A gift from God?
http://bladder911.best/2HlzbzfRK5BA0DPA03bpmSmiGQnSgDhR_fatUP673Lhp24y_og
http://bladder911.best/j1KtsH5C2un9PpRAA--Xc15fzoVClNh1yZWTdlo_8H5xr9fTXA
mposition or a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing atonal music.
"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. The term's use in connection with music was first introduced in French by René Leibowitz in 1947, and immediately afterward by Humphrey Searle in English, as an alternative translation of the German Zwölftontechnik (twelve-tone technique) or Reihenmusik (row music); it was independently introduced by Stockhausen and Herbert Eimert into German in 1955 as serielle Musik, with a different meaning, but also translated as "serial music".
Twelve-tone serialism
Serialism of the first type is most specifically defined as a structural principle according to which a recurring series of ordered elements (normally a set—or row—of pitches or pitch classes) 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", or dodecaphony, 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 post-Webernian serialism. Other terms used to make the distinction are twelve-note serialism for the former and integral serialism for the latter.
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 comprehen
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<div style="color:#FFFFFF;font-size:10px;">mposition or a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing atonal music. "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. The term's use in connection with music was first introduced in French by René Leibowitz in 1947, and immediately afterward by Humphrey Searle in English, as an alternative translation of the German Zwölftontechnik (twelve-tone technique) or Reihenmusik (row music); it was independently introduced by Stockhausen and Herbert Eimert into German in 1955 as serielle Musik, with a different meaning, but also translated as "serial music". Twelve-tone serialism Serialism of the first type is most specifically defined as a structural principle according to which a recurring series of ordered elements (normally a set—or row—of pitches or pitch classes) 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", or dodecaphony, 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 post-Webernian serialism. Other terms used to make the distinction are twelve-note serialism for the former and integral serialism for the latter. 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 comprehen</div>
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