77 Sentences With "serial music" | Random Sentence Generator

Though Ms. Mamlok often employed the techniques of serial music, her style defied ready categorization.

Unlike much serial music of the 20163s, whose scientific rigor can often feel dated today, Ginastera's late works sound remarkably fresh.

Ms. Flores's four large ink-on-cotton paintings, covered in repetitive mazes of thin black lines, are strangely soothing, like quiet serial music.

The show is an entry in a particular base of television that people seem to love: the serial music drama, plagued by fashion pageantry and theatrical dialogue.

Graham Newcater (born September 3, 1941) is a South African composer of serial music (twelve tone music).

These invariances in serial music are analogous to the use of common-tones and common-chords in tonal music.

In the mid to late 1940s, after World War II, Hopkins studied theories and the concepts of serial music – including so-called serious music – with Stefan Wolpe.

Liscomb taught Anderson the rules of counterpoint, enabling her to compose simplistic traditional music. During her last two years of high school she began to compose serial music, learning from books on the topic.

"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 , 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".

Most compositions using this technique end when the two cycles coincide. A similar process is used in serial music, although the number of different overlapping cycles can be quite large, and encode a wide variety of musical parameters, such as dynamics, articulation, timbre, register, and so forth.

From 3 to 7 November 1960 he visited Boulez in Baden-Baden. Those days were spent on analyzing Improvisations sur Mallarmé I & II of Boulez. At last Escher concluded that the techniques did not feel right for him. Nevertheless, in his Wind Quintet from 1967 serial music can be found.

Division of the measure/chromatic scale, followed by pitch/time-point series. In serial music a time-point set, proposed in 1962 by Milton Babbitt,Babbitt, Milton (1962) "Twelve-tone Rhythmic Structure and the Electronic Medium", Perspectives of New Music 1, no. 1 (Fall): 49–79. Citation on p.63.

Mátyás György Seiber (; 4 May 190524 September 1960) was a Hungarian-born British composer who lived and worked in the United Kingdom from 1935 onwards. His work linked many diverse musical influences, from the Hungarian tradition of Bartók and Kodály, to Schoenberg and serial music, to jazz, folk song, and lighter music.

Among the many styles of modern music, Serge Garant clearly identified himself as a "serial music" composer. He tried to explain to his audience the nature of this new musical language that swept all the old conventions of sound reference acquired in previous centuries.Lefebvre, Marie-Thérèse. 1986. Serge Garant et la révolution musicale au Québec.

This chord can also be found in serial music. For example, the Elektronische Musik vom Freitag aus Licht (1991–94) by Karlheinz Stockhausen, from an opera composed using formula technique, concludes on this chord.Jerome Kohl, "Der Aspekt der Harmonik in Licht", in Internationales Stockhausen-Symposion 2000: Licht: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22.

Contemporary classical music is classical music relative to the present day. At the beginning of the 21st century, it commonly referred to the post-1945 modern forms of post-tonal music after the death of Anton Webern, and included serial music, electronic music, experimental music, and minimalist music. Newer forms of music include spectral music, and post-minimalism.

Irino did not, however, compose serial music, a technique of the same period widely used with the Darmstadt School. In 1973, the Asian Composers League was established by Irino and his colleagues. After his death, the Irino Award and the Yoshiro Irino Memorial Prize (sponsored by the Asian Composers League) were established to promote young composers. Notable students include Kimi Sato.

He was the first Swede to write serial music (1932). Yet other works of that period are post-Sibelian or neo-classical, and his output generally is characterized by variety of style. He wrote for the theatre, cinema and broadcasting, in addition to the more traditional forms of symphony, concerto, chamber and vocal music. He died of diabetes complications in Helsingborg in 1986, aged 78.

However, actual analysis of Webern's twelve-tone works has so far failed to demonstrate the truth of this assertion. One analyst concluded, following a minute examination of the Piano Variations, op. 27, that > while the texture of this music may superficially resemble that of some > serial music ... its structure does not. None of the patterns within > separate nonpitch characteristics makes audible (or even numerical) sense in > itself.

Axel Borup-Jørgensen (22 November 1924 - 15 October 2012) was a Danish composer. Axel Borup-Jørgensen was born in Hjørring in Denmark, but grew up in Sweden. He studied piano at the Royal Danish Academy of Music in Copenhagen and instrumentation with Poul Schierbeck and Jørgen Jersild. He was one of the first Danish composers to go to the Darmstädter Ferienkurse, but he never composed serial music.

Born in Nancy, Condé was first self-taught until 1965 then studied harmony at the before following the teaching of Max Deutsch (composition) in Paris between 1969 and 1972. He joined the daily Le Monde in 1975. He also contributes to various publications, such as Opéra and Opéra international and produces programmes on France Musique. As a composer, he writes in a technique derived from serial music.

Sill 'Sill' (2007), Pakistani TV drama serial's Full Cast & Crew (TV serial music by Waqar Ali) on IMDb website. Retrieved 22 June 2018 He has worked with singers Rahat Fateh Ali Khan, Sajjad Ali, Shabnam Majeed, Atif Aslam, Lucky Ali, Qurat-ul-Ain Balouch and others. Over more than two recent decades, Waqar Ali has evolved into one of the best TV music composers in Pakistan.

Paul Gredinger (1927 – 6 October 2013) was a Swiss architect. Gredinger was one of the leading figures in the German advertising scene.Paul Gredinger on Last musicFormer GGK managing director Paul Gredinger deceased Der Standard He also worked between 1953 and 1957 together with Karlheinz Stockhausen and Herbert Eimert at the Studio for Electronic Music.M. J. Grant: Das Serielle in: Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe, p.

Vladimir Martynov studied piano as a child. Gaining an interest in composition, he enrolled in the Moscow Conservatory where he studied piano under Mikhail Mezhlumov and composition under Nikolai Sidelnikov, graduating in 1971.Biography at peoples.ru In his early works, such as the String Quartet (1966), the Concerto for oboe and flute (1968), Hexagramme for piano (1971), and Violin sonata (1973), Vladimir Martynov used serial music (or twelve-tone) technique.

In the theory of serial music, however, some authors (notably Milton BabbittSee any of his writings on the twelve-tone system, virtually all of which are reprinted in The Collected Essays of Milton Babbitt, S. Peles et. al, eds. Princeton University Press, 2003. .) use the term "set" where others would use "row" or "series", namely to denote an ordered collection (such as a twelve- tone row) used to structure a work.

He composed in a number of styles of the course of his career, but never keyed his music to a methodology within any one of those styles. Thus, there is not the systematization of Hindemith in his works from the forties, or a strict serial technique in his works of the fifties. Only a small percentage of Lidholm's serial music subscribes to strict pitch order throughout the work.

Unlike other minimalist works in which, compared to serial music, "a certain level of articulational subtlety is eschewed in favor of an overall psycho-acoustic effect," in Gaburo's piece "the focus is even more intense, and the attention to dynamic shaping given to the lines … is here transferred to the micro-level" . An earlier work from Gaburo's Lingua series, Lingua IV (1970), for various media, bears a similar subtitle: "The Flow of (i)2" .

"Serialism arose partly as a means of organizing more coherently the relations used in the pre-serial 'free atonal' music. ... Thus, many useful and crucial insights about even strictly serial music depend only on such basic atonal theory" . Late 19th- and early 20th-century composers such as Alexander Scriabin, Claude Debussy, Béla Bartók, Paul Hindemith, Sergei Prokofiev, Igor Stravinsky, and Edgard Varèse have written music that has been described, in full or in part, as atonal (; ; ; ; ; ; ; ; ; ; ; ).

As a prolific writer, he has often shown his varied interests in American music. He wrote a series of articles on improvisation in 1964, and more recently has discussed postmodernism, coining the term 'style modulation' to describe the weaving together of serious and popular or past and present music. The term can be applied to his own music, which adds a mix of ragtime, jazz, serial music, and even electronic playback to more traditional types of instrumental musical forms.

Example 4. The song of the golden oriole from Le loriot, part of Catalogue d'oiseaux. The birdsong played by the pianist's left hand (notated on the lower staff) provides the fundamental notes, and the quieter harmonies played by the right hand (on the upper staff) alter their timbre. In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music.

Circuit : musiques contemporaines, vol. 7, no 2, p. 37. The inauguration of the famous composer of Anerca (1961) at the Faculty of Music is a matter of clabauderie for many, probably because he doesn't have a graduate degree, that he never taught at university before and that he valued a more structuralist approach to music, serial music and atonal music, in an environment where they are not particularly valued. Despite this seemingly unfavorable context, Garant was granted tenure in 1971.

As a student at the Conservatoire Boulez composed a series of pieces influenced first by Honegger and Jolivet (Prelude, Toccata and Scherzo and Nocturne for solo piano (1944–45))Meïmoun, 22. and then by Messiaen (Trois psalmodies for piano (1945) and a Quartet for four ondes Martenot (1945–46)).Bennett, 46–49; Jameux, 13; Campbell and O'Hagan, 29. The encounter with Schoenberg—through his studies with Leibowitz—was the catalyst for his first piece of serial music, the Thème et variations for piano, left hand (1945).

First array of four aggregates (numbered 1–4 at bottom), each vertical line (four trichords labeled a–d) is an aggregate while each horizontal line (four trichords labeled a-d) is also an aggregate (Whittall 2008, 271). Composition for Four Instruments (1948) is an early serial music composition written by American composer Milton Babbitt. It is Babbitt’s first published ensemble work, following shortly after his Three Compositions for Piano (1947). In both these pieces, Babbitt expands upon the methods of twelve-tone composition developed by Arnold Schoenberg.

Boudewijn Buckinx (born Lommel, 28 March 1945) is a Belgian composer and writer on music. Buckinx attended the Antwerp Conservatory, and from 1964 studied composition and serial music with Lucien Goethals in Ghent, where he also studied electronic music at the IPEM . In 1968 he attended Stockhausen’s composition studio in Darmstadt and participated in the composition of Stockhausen’s Musik für ein Haus, contributing a quintet for flute, oboe, bass clarinet, bassoon, and cello titled Atoom (; ). However, his principal influences are Mauricio Kagel and John Cage.

Steve Reich has offered one possible explanation for why such criticism is largely misplaced. In 1987 he stated that his compositional output reflected the popular culture of postwar American consumer society because the "elite European-style serial music" was simply not representative of his cultural experience. Reich stated that Kyle Gann, himself a minimalist composer, has argued that minimalism represented a predictable return to simplicity after the development of an earlier style had run its course to extreme and unsurpassable complexity.Gann 1997, 184–85.

64; Richard Toop, Six Lectures from the Stockhausen Courses Kürten 2002 (Kürten: Stockhausen-Verlag, for the Stockhausen Foundation for Music, 2005): 30, . interval of entrance,Pascal Decroupet, "Rhythms—Durations—Rhythmic Cells—Groups, Concepts of Microlevel Time-Organisation in Serial Music and Their Consequences on Shaping Time on Higher Structural Levels", in Unfolding Time: Studies in Temporality in Twentieth-century Music, Geschriften van het Orpheus Instituut 8, edited by Marc Delaere and Darla Crispin, 69–94 (Louvain: Leuven University Press, 2009): p. 85\. . or starting interval.

In music theory, a parameter denotes an element which may be manipulated (composed), separately from the other elements. The term is used particularly for pitch, loudness, duration, and timbre, though theorists or composers have sometimes considered other musical aspects as parameters. The term is particularly used in serial music, where each parameter may follow some specified series. Paul Lansky and George Perle criticized the extension of the word "parameter" to this sense, since it is not closely related to its mathematical sense, but it remains common.

The French composer Olivier Messiaen had the idea in the late 1940s of transferring the organisation of pitches onto durations, dynamics, and, conceptually, even timbres. Messiaen had two students in Paris who took up his thoughts and from then on were the best-known representatives of serial music—as it was called—Pierre Boulez and Karlheinz Stockhausen. In the 1970s Boulez would become the founder and director of one of the most important institutions in this field, IRCAM. Eimert invited Stockhausen to become his assistant at the Cologne studio, and he arrived in March 1953 .

Born in Stuttgart, Mosch first studied school music at the Hochschule für Musik, Theater und Medien Hannover as well as German Studies and musicology at the University of Hannover and at the Technical University of Berlin with Carl Dahlhaus and Helga de la Motte-Haber. He received his doctorate with a thesis on the musical listening of serial music. From 1986 to 1988 he was assistant to the scientific director of the "Musikgeschichte". 1989 to 1990 he worked as an assistant at the State Institute for Music Research in Berlin.

Composers are routinely trained in the "Palestrina style" to this day, especially as codified by the 18c music theorist Johann Joseph Fux. Composers of the early 20th century also wrote in Renaissance-inspired styles. Herbert Howells wrote a Mass in the Dorian mode entirely in strict Renaissance style, and Ralph Vaughan Williams's Mass in G minor is an extension of this style. Anton Webern wrote his dissertation on the Choralis Constantinus of Heinrich Isaac and the contrapuntal techniques of his serial music may be informed by this study.

For his students According to the notes for the Composers Recordings, Inc. recording of Finney's Cello Sonata No. 2 (about 1953), Chromatic Fantasy In E for solo cello (1957) and Piano Trio No. 2 (1954), he received the Rome Prize in 1960 and the Brandeis Medal in 1968. He is quoted in those notes as having begun writing serial music from time to time beginning in 1950 with his String Quartet No. 6 (a work which uses serial principles but is "in E" on the score), his next composition after the sonata.

Radio Times issue 1258, 23 November 1947, p 16 Eventually, however, a neurological finger malfunction caused him to give up performing, and he became a music critic, serving the Daily Telegraph for 26 years (the last decade as chief music critic, retiring in 1985). He became increasingly disillusioned with serial music and this was reflected in his criticism of contemporary music.‘Serialism Reconsidered’, in The Score No 22 (1958) p 12–27 Stadlen spent many years trying to track down Beethoven's metronome, an invention which Beethoven had commissioned.

10-15 The development of this concept allows a better understanding of the close link between the ability to condition and organize exchanges between an experience and its representation, and a procedure based on the rhythmical repetition of one, or several, paradigms in a determined and coherent body, which allows their reproduction and inflection 6. Serial works of art thus form a privileged field of studies since they turn this recursion and redundancy into structuring principles. This research tries to illustrate this serial conceptualization of the imaginary by analyzing serial literature, television series, comic books, serial music and dance, etc.

Marija Kovač (1984) Symphonic Music of Vasilije Mokranjac, Belgrade, Association of Serbian Composers, p. 17. All three symphonies are neo-expressionistic, and the Third contains a twelve-note row. However, Mokranjac does not follow the rules of dodecaphonic and serial music, but he uses the twelve-note row as a passing sound illustration. Although all three symphonies follow the traditional four-movement symphonic design, Mokranjac's employment of a single motivic core, as well as his gradual erasing of borders between the movements, lead towards the single-movement symphonies and “poems” typical of his final creative period.

Karlheinz Essl's work with computers (with emphasis on algorithmic composition and generative music) and a prolonged occupation with the poetics of serial music have been a formative influence on his compositional thinking. Besides writing instrumental music, Karlheinz Essl also works in the field of electronic music, interactive realtime compositions and sound installations. Since the early 1990s, he has developed various software environments for realtime composition which he uses himself for his own live performances and also in collaboration with artists from other fields (choreographers, dancers, visual artists and poets).Grove Dictionary of Music and Musicians, 2nd ed.

In 1957, Gould undertook a tour of the Soviet Union, becoming the first North American to play there since World War II. His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series. On 31 January 1960, Gould made his American television debut on CBS's Ford Presents series, performing Bach's Keyboard Concerto No. 1 in D minor (BWV 1052) with Leonard Bernstein conducting the New York Philharmonic.

The score of Plus-Minus is complicated, delivering the message that composing serial music is hard work . The openness of the score was itself seen at the end of the 20th century as a form of control, deterring all but the most committed musicians from undertaking performances. Nevertheless, anyone making a realisation does have considerable control over the nature of the piece, and "negative-minded realisers can kill the piece, the over-positive can encourage disproportionate growth" . At the first Cologne Courses, a student composer from Iceland, Atli Heimir Sveinsson, "assassinated" Plus-Minus by deliberately discovering the quickest way to end the piece.

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 set theory is often used to analyze and compose serial music, and is also sometimes used in tonal and nonserial atonal analysis. 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.

Born in Paris into a family of artists, she discovered contemporary music during the serial music movement, and discovered free jazz and the expansion of new technologies as early as the 1970s. She began learning harp with Martine Géliot, before deciding to continue with Brigitte Sylvestre, a harpiste who was with Atem and who played with the Greek contemporary composer Georges Aperghis. Ms. Sylvestre initiated her into musical theater and contemporary music. Breschand obtained the "Médaille d'or" and the "Prix d'Excellence" by unanimity at the Conservatoire à Rayonnement Régional of Paris under Brigitte Sylvestre and obtained the "Prize of Analysis" with Christian Acaoui.

Minimalism also emerged, led by composers such as Philip Glass, Steve Reich and Michael Nyman. This was a break from the intellectual serial music in the tradition of Schoenberg, which lasted from the early 1900s to 1960s. Experimental classical music influenced both art rock and progressive rock genres with bands such as Pink Floyd, Yes, Todd Rundgren's Utopia, Supertramp, Rush, Genesis, King Crimson, Emerson, Lake & Palmer, Jethro Tull, The Moody Blues and Soft Machine. Hard rock and Heavy metal also emerged among British bands Led Zeppelin, Queen, The Who, Black Sabbath, UFO, Deep Purple, Uriah Heep, and Judas Priest.

Theorists of the later 20th century often use the term "tetrachord" to describe any four-note set when analysing music of a variety of styles and historical periods.Benedict Taylor, "Modal Four-Note Pitch Collections in the Music of Dvořák's American Period", Music Theory Spectrum 32, no. 1 (Spring 2010): 44–59; Steven Block and Jack Douthett, "Vector Products and Intervallic Weighting", Journal of Music Theory 38, no. 1 (Spring 1994): 21–41; Ian Quinn, "Listening to Similarity Relations", Perspectives of New Music 39, no. 2 (Summer 2001): 108–58; Joseph N. Straus, "Stravinsky's 'Construction of Twelve Verticals': An Aspect of Harmony in the Serial Music", Music Theory Spectrum 21, no.

According to Time magazine, the two composers drew very different interpretations from the piece, with Schuller's work consisting of a "snatch of serial music in which the orchestra beeped, squeaked and rasped like a rusty hinge while the muted brasses burped out shreds of sound" while Diamond drew on "more somber tones: muted, dark-hued movements of the strings, with the picture's more jagged lines delineated by scampering woodwinds and brasses." Larson wrote in New York Magazine (1987) that the image was then "embedded in childhood prehistory", commenting that it "always seemed to be taped to kids' bedroom walls, next to Rousseau's The Sleeping Gypsy".

The second movement, which treats the evening before the sacrifice, is conceived purely instrumentally; this movement is clearly closer to the style of his contemporaries. However, from this movement on, Xenakis would no longer be constrained by serial techniques, and would explore his musical viewpoints and perspectives by using glissandos and discontinuous pitches. The third movement was the result of this change, even though it would still not be considered stochastic music, which Xenakis would explore further in Pithoprakta. However, Xenakis removed completely any trace of serial music and started working to bring his vocal compositions to the same level as that of his instrumental and electroacoustic compositions.

The most influential figure classical music in postwar Paris was Olivier Messiaen (1908-1992), organist at the Trinity Church beginning in 1930 and professor at the Paris Conservatory of Music from 1942. He was noted for his scientific study of bird songs (1958), his adaptions of traditional Asian and Latin American rhythms (1960); and original church music. Other notable composers included Pierre Schaeffer, founder of the school called music concréte and composer of Symphonie pour un home seul (1950) and Orphée 51 (1951); the composer Pierre Henry, a collaborator of Schaeffer, pioneer of electro-acoustic music; and composer of The Well-Tempered microphone; and the conductor and composer Pierre Boulez, a pioneer of serial music.

The subtitle of the original edition, "Information über serielle Musik" ("information on serial music") reflected the intent of the editors, but was changed for the English edition to "A Periodical Devoted to Developments in Contemporary Music", a phrase that did not effectively represent the journal's specific context and may have been one reason for an unfavourable reaction from American composers and critics . There were just eight volumes published, each under a thematic title. Further issues had been planned, but publication was broken off when deteriorating relations between the two editors reached the point of open rupture. In 1958, a competing journal, the Darmstädter Beiträge zur Neuen Musik, was launched by Wolfgang Steinecke, director of the Darmstädter Ferienkurse.

Searle was the son of Humphrey and Charlotte Searle and, through his mother, a grandson of Sir William Schlich. He was born in Oxford where he was a classics scholar before studying—somewhat hesitantly—with John Ireland at the Royal College of Music in London, after which he went to Vienna on a six-month scholarship to become a private pupil of Anton Webern, which became decisive in his composition career. Searle was one of the foremost pioneers of serial music in the United Kingdom, and used his role as a producer at the BBC from 1946 to 1948 to promote it. He was General Secretary of the International Society for Contemporary Music from 1947 to 1949.

In an essay titled "Metamorphoses of Musical Form", Ligeti developed the concept of musical "permeability" according to which a musical structure is "permeable" if it allows a free choice of intervals and "impermeable" if not. Ligeti here considers Palestrina’s music as having "perhaps the lowest degree of permeability" because its handling of consonance and dissonance was the most sensitively defined of all historical styles. Ligeti saw permeability and impermeability of groups, structures, and textures in serial music as substitutes for the form-shaping function of melodic lines, motifs, and harmonies in older styles. Some textures could be layered and juxtaposed; some musical structures will mix with others seamlessly, while other structures will stand out.

Later, he turned to the ballet and then serial music. The early-to-mid 20th century New York classical music scene also produced composers such as Roger Sessions, an academically oriented composer known for operas such as Motezuma. The similarly academic William Schuman became known for such works as the New England Triptych and his Third Symphony. Schuman also became president of the Juilliard School, changing the school by forming the Juilliard String Quartet and merging the Institute of Musical Art with the Juilliard Graduate School, as well as hiring teachers such as William Bergsma, Peter Mennin and Hugo Weisgall, who went on to teach future luminaries such as Steve Reich and Philip Glass.

The idea of serialism is also applied in various ways in the visual arts, design, and architecture (; ), and the musical concept has also been adapted in literature (; ; ). Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch . Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism . Composers such as Arnold Schoenberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt, Elisabeth Lutyens, Henri Pousseur, Charles Wuorinen and Jean Barraqué used serial techniques of one sort or another in most of their music.

In serial music the beginning of a note may be considered, or its duration may be (for example, is a 6 the note which begins at the sixth beat, or which lasts six beats?). Durations, and their beginnings and endings, may be described as long, short, or taking a specific amount of time. Often duration is described according to terms borrowed from descriptions of pitch. As such, the duration complement is the amount of different durations used, the duration scale is an ordering (scale) of those durations from shortest to longest, the duration range is the difference in length between the shortest and longest, and the duration hierarchy is an ordering of those durations based on frequency of use.

Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architecture; "Integral serialism" or "total serialism" is the use of series for aspects such as duration, dynamics, and register as well as pitch. Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are "general serialism" and "multiple serialism". Musical set theory provides concepts for categorizing musical objects and describing their relationships.

From a purely technical point of view, the term "punctual" has the sense of "a point of intersection of parameters" in serial music . Retrospectively attributed to the music of Anton Webern, the term was originally coined in German (punktuelle Musik), by Karlheinz Stockhausen and Herbert Eimert (who also used the expression "star music") to describe pieces such as Olivier Messiaen's "Mode de valeurs et d'intensités" (1949) . However, it is most commonly associated with serial compositions such as Pierre Boulez's Structures, book 1 (1952), Karel Goeyvaerts's Sonata for Two Pianos and Nummer 2 for thirteen instruments (1951), Luciano Berio's Nones, and Luigi Nono's Polifonica–Monodia–Ritmica, as well as some early compositions of Stockhausen, such as Kreuzspiel (; ; ). Herman Sabbe, however, argues that "Stockhausen never strictly speaking composed punctually" .

Schoenberg's idea in developing the technique was for it to "replace those structural differentiations provided formerly by tonal harmonies". As such, twelve-tone music is usually atonal, and treats each of the 12 semitones of the chromatic scale with equal importance, as opposed to earlier classical music which had treated some notes as more important than others (particularly the tonic and the dominant note). The technique became widely used by the fifties, taken up by composers such as Milton Babbitt, Luciano Berio, Pierre Boulez, Luigi Dallapiccola, Ernst Krenek, Riccardo Malipiero, and, after Schoenberg's death, Igor Stravinsky. Some of these composers extended the technique to control aspects other than the pitches of notes (such as duration, method of attack and so on), thus producing serial music.

When Stockhausen agreed to let Steinecke co-publish an article that Eimert had expected exclusively for Die Reihe , Eimert felt he was being disloyal. When other young composers began following Stockhausen's lead, and Stockhausen himself authorised a short version of another article originally published in Die Reihe , it put increasing pressure on Eimert, who was threatened with a cut in funding by Alfred Schlee of Universal Edition . On the other side, on 24 May 1961 Eimert published in the Kölnischer Rundschau a glowing review of Hans Werner Henze's opera Elegy for Young Lovers. Since Henze's style was comparatively old-fashioned, Stockhausen regarded this as a betrayal of the principles of serial music underlying Die Reihe, and vehemently broke with Eimert over it .

He left a legacy of over 200 works and an uncounted number of choristers, students and satisfied listeners. Purvis's long and distinguished career was marked by elegant service playing, conducting and composition. He was admired as one of the finest organ improvisateurs in the U.S. In an era when so-called "romantic" music was out of favor with most composers, and atonal, serial music was considered the hallmark of serious composition, he was not afraid to write tuneful, accessible, richly colored, and even whimsical compositions. His more than 200 compositions include a Concerto for organ and orchestra; Four Prayers in Tone, Toccata Festiva & for organ; a partita on Christ ist Erstanden and The Ballad of Judas Iscariot for choir and orchestra.

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 Klavierstücke I–IV (which use permuted sets), his Stimmung (with pitches from the overtone series, which is also used as the model for the rhythms), and Pousseur's Scambi (where the permuted sounds are made exclusively from filtered white noise). When serialism is not limited to twelve-tone techniques, a contributing problem is that the word "serial" is seldom if ever defined.

Gaber's first recorded composition, Ludus Primus: Two Flutes and Vibraphone, (1966) was followed by Chimyaku: Solo Alto Flute (1968), Kata: Solo Violin for (1969) and Michi: Solo Violin (1969). Composer Eric Richards described Gaber's minimalist music as an effort to "get inside the music." > He notated minute directions for the attack, dynamic changes, and other > physical characteristics of each and every note, in ways that, while they > might have superficially resembled some of the serial music of that time, > were really his attempt to get beyond appearances, and slow down the sense > of time in the music through a deeper investigation of the sound itself. His compositions in the 1970s were mainly for strings, and in these works, he strived to suspend time.

Much later, while Zhitomirsky remained resolute against serial music in general, he defended Shostakovich's use of the 12-tone system in his late works. In the September 1976 issue of Sovietskaia muzyka (Soviet Music), he emphasized the "indissoluble connection between the tonal and atonal moments in Shostakovich's music" and the fact that the composer's atonal themes "create the optimal conditions for the expulsion of a tonal center.... The tonal beginning of them, as is correct, does not vanish, although frequently it is as if already hanging by a thread." Zhitomirsky claimed that Shostakovich used 12-tone themes for expressive effect and were thus an extension of a type of "melodic intensity" which had existed since the 19th century.Schmelz, 316, 318.

He arrived in Montpellier towards the end of the summer of 1928 and, having obtained his bachelor's degree in philosophy and a certificate of higher studies in German, he moved to Paris in October 1929, where he settled for the rest of his life. Goléa was one of the first participants of the famous radio talk ' by Armand Panigel, launched in 1947 on RTF (and later on France Musique), alongside Claude Rostand, José Bruyr, and Henri Jacques. Other eminent critics later joined this Tribune, in particular Jacques Bourgeois and Jean Roy. A columnist at Télérama Diapason, and ', he was one of the most important critics of contemporary music, known for his uncompromising stance and passionate defence of serial music, which he has long considered to be the only contemporary music worthy of interest.

George Perle has described his "keen and sophisticated musical intellect" and praised "his serial music [for being] as far removed from current fashionable trends as his diatonic music was a few years ago." Perle further praises his String Quartet: "in the quartet, as in Berger's earlier works, and in most of the great music of our Western heritage, timbre, texture, dynamics, rhythm, and form are elements of a musical language whose syntax and grammar are essentially derived from pitch relations. If these elements never seem specious and arbitrary, as they do with so many of the dodecaphonic productions that deluge us today from both the left and right, it is precisely because of the authenticity and integrity of his musical thinking at this basic level."(1980). "Liner notes: Form ", newworldrecords.

The pieces that were produced in the studio from the late 1960s onward are characterized by a move away from the strict serial processes of the 1950s, especially as Gottfried Michael Koenig, the last representative of serial music, had left the studio in 1964 in order to take over the position of head of the Institute of Sonology at the Rijksuniversiteit in Utrecht. Younger composers such as Johannes Fritsch, David C. Johnson, and Mesías Maiguashca now developed the possibilities of electronic sound generation and transformation in more playful and unconventional ways. Whether produced electronically and processed, or produced mechanically, recorded by a microphone and then manipulated electronically, no sound was generally excluded from use in electronic music. Stockhausen himself had already laid the foundation in one of his longest electronic works, Hymnen (1966–67), which is based on recordings of national anthems .

During the late 1950s and early 1960s the courses were charged with a perceived lack of interest on the part of some of its zealot followers in any music not matching the uncompromisingly modern views of Pierre Boulez — the "party subservience" of the "clique orthodoxy" of a "sect", in the words of Kurt Honolka, written in 1962 in an effort to "make the public believe that the most advanced music of the day was no more than a fancy cooked up by a bunch of aberrant conspirators conniving at war against music proper." This led to the use of the phrase "Darmstadt School" (coined originally in 1957 by Luigi Nono to describe the serial music being written at that time by himself and composers such as Boulez, Maderna, Stockhausen, Berio, and Pousseur) as a pejorative term, implying a "mathematical", rule-based music.

The surreal absurdity of Originale recalls Samuel Beckett, Alain Robbe- Grillet's books and film L 'année dernière à Marienbad, and, in its use of the commonplace, Harold Pinter.. It combines the rigorous, tightly controlled compositional form of Stockhausen's serial music with the loosely structured improvisational framework of the early Happenings. The score to Originale is groundbreaking for its incorporation of performance events and other assorted "actions" into a musical organization with precise "timepoints" or temporal markings, typical of Stockhausen's musical scores. Within the 94' duration of Originale is a performance of Stockhausen's Kontakte for piano, percussion, and electronics, that is woven throughout the work, providing a central unifying element to this often disjointed work. In addition to Kontakte, the Cologne performances included tape-recorded excerpts from Stockhausen's Carré for four orchestras and choirs, Gesang der Jünglinge, Gruppen for three orchestras, and Zyklus for a percussionist.

Stein later returned to the University of Southern California for post-graduate studies, receiving a DMA in 1965 with a dissertation titled "The Performance of Twelve-Tone and Serial Music for the Piano", which included analyses of important piano works by Schoenberg, Anton Webern, Karlheinz Stockhausen, Pierre Boulez, and others. Beginning in 1946 he taught at Occidental College, Los Angeles City College, Pomona College, UCLA, UC San Diego, Cal State Dominguez Hills, and primarily at the California Institute of the Arts, and what is now Claremont Graduate University. Highly regarded among peers and composers, such as Igor Stravinsky, Robert Craft, and Pierre Boulez, Stein's pedagogy, which stems directly from the teachings of Schoenberg, was a historical turning point in the cross fertilization of European art music in the development of mid-to late 20th-century music in America. For his students, Stein also created and directed the Encounters concert series in 1960 with Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen, and John Cage in attendance.

Orchestra of the Paris Opera, by Edgar Degas (1870) Lute player from the Ballet de la Nuit (1653) Poster for the Ballets Russes (1909) The city of Paris has been an important center for European music since the Middle Ages. It was noted for its choral music in the 12th century, for its role in the development of ballet during the Renaissance, in the 19th century it became famous for its music halls and cabarets, and in the 20th century for the first performances of the Ballets Russes, its jazz clubs, and its part in the development of serial music. Paris has been home to many important composers, to name a few: Jean-Baptiste Lully, Jean-Philippe Rameau, Christoph Willibald Gluck, Niccolò Piccinni, Frédéric Chopin, Franz Liszt, Jacques Offenbach, Georges Bizet, Claude Debussy, Maurice Ravel, Hector Berlioz, Paul Dukas, Gabriel Fauré, César Franck, Charles Gounod, Jules Massenet, Vincent d'Indy, Camille Saint-Saëns, Erik Satie, Igor Stravinsky, Sidney Bechet...

In 1954 Pierre Boulez founded Le Domaine musical, which between 1954 and 1966, presented regular concerts of new music by composers including Schoenberg and Webern. The most influential modernist composer in post-war Paris was Olivier Messiaen (1908-1992), organist at the Trinity Church beginning in 1930 and professor at the Paris Conservatory of Music from 1942. he was noted for his scientific study of bird songs (1958), his adaptations of traditional Asian and Latin American rhythms (1960); and original church music. Other notable composers included Pierre Schaeffer, founder of the school called Musique concrète, based on recorded sounds of the real world, such as the noise made by trains; and composer of Symphonie pour un home seul (1950) and Orphée 51 (1951); the composer Pierre Henry, a collaborator of Schaeffer, pioneer of electroacoustic music; and composer of The Well-Tempered microphone; and the conductor and composer Boulez, a pioneer of Serial music.

Coined by Luigi Nono in his 1958 lecture "Die Entwicklung der Reihentechnik" (; ), Darmstadt School describes the uncompromisingly serial music written by composers such as Pierre Boulez, Bruno Maderna, Karlheinz Stockhausen (the three composers Nono specifically names in his lecture, along with himself), Luciano Berio, Earle Brown, John Cage, Aldo Clementi, Franco Donatoni, Niccolò Castiglioni, Franco Evangelisti, Karel Goeyvaerts, Mauricio Kagel, Gottfried Michael Koenig, Giacomo Manzoni, and Henri Pousseur from 1951 to 1961 (; ; ; ; ; ), and even composers who never actually attended Darmstadt, such as Jean Barraqué and Iannis Xenakis . Two years later the Darmstadt School effectively dissolved due to musical differences, expressed once again by Nono in his 1960 Darmstadt lecture "Text—Musik—Gesang" . Nevertheless, composers active at Darmstadt in the early 1960s under Steinecke's successor Ernst Thomas are sometimes included by extension—Helmut Lachenmann, for example —and although he was only at Darmstadt before 1950, Olivier Messiaen is also sometimes included because of the influence his music had on the later Darmstadt composers . However, according to one source, although Messiaen paid "a brief visit" to the courses in 1949, "he neither taught students nor lectured" there .