SERIALISM
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Transcript of SERIALISM
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Dodecaphony (Twelve-Tone Serialism)"
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Precedents of Dodecaphony"
H E R C U L E S! D U X! F E R R A R I E!(re) !(ut) !(re)! (ut)! (re) !(fa) !(mi) !(re)!
Josquin DesPres—Missa Hercules Dux Ferrariae (c. 1480):!
“Bach” Motive:!
B ! A "C ! H ! This motive has been used by Bach, Schumann, Liszt, Ives, Schönberg, Shostokovich, et al)!
French solfege syllables are used to represent vowel sounds in name.!
In German, the letter B represents B-flat, H represents B-natural, and S (“Es”) represents E-flat.!
Soggeto Cavato (“Carved Melody”)"
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Soggeto Cavato (“Carved Melody”)"
ARNOLD SCHÖNBERG! ALBAN BERG!
ANTON WEBERN!
Alban Berg—Kammerkonzert (1923-25):!
Precedents of Dodecaphony"
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Definition:"“Method of composing with twelve tones related only to themselves.” [Schönberg]!
Terminology:"
Dodecaphony"
§ dodecaphony/twelve-tone composition!§ matrix!§ permutation (prime, retrograde, inversion, retrograde-inversion)!§ combinatoriality!§ hexachords, tetrachords, trichords, dyads!§ invariance!§ partition!
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Schönberg Variations for Orchestra, Op. 31 (1928): tone rows"
Prime (P):!
Retrograde (R):!
Inversion (I):!
Retrograde-Inversion (RI):!
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Schönberg Variations for Orchestra, Op. 31 (1928): matrix"
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Schönberg Variations for Orchestra, Op. 31 (1928): main theme"
1
Theme: P-0"
Accomp: I-9"
Theme: RI-9"(Accomp: R-0)"
Theme: I-9"(Accomp: P-0)"
Theme: R-0"(Accomp: RI-9)"
2 3 4 5 6 7 8 9 10" 11" 12"
1234
5
67
8 9
10"11"
12"
1 2 3 4 5 6 7 8 9 10" 11" 12"
1 2 3 4 5 6 7 8 9 10" 11" 12"
1 2 3 4 5 6 7 8 9 10" 11" 12"
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Two Possible Applications of a Tone Row"
Category One: one version of the row is used at a time; pitches are distributed between parts (partitioning).!
Category Two:Two or more versions of the row are used simultaneously, usually in separate voices. !
I-6"
Arnold Schönberg: Violin Concerto, Op. 36
(1936)!P-1"
I-6"
P-1"
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Alban Berg’s Use of the Row"
Three Versions of the Row in Berg’s Lyric Suite (1925-26)!
a. Original form:!
b. As two scales:!
c. As an ascending circle of fifths:!
Hexachord A (Prime)! Hexachord B (Retrograde)!
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Alban Berg’s Use of the Row"
Violin Concerto, First movement, mm. 11-15:!
Prime Set of the Violin Concerto (1935):!nested triads (major, minor, augmented, diminished)!
whole-tone (lydian) sequence!
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Manon Gropius in 1933, at the age of sixteen.!
Alma Mahler !
Walter Gropius !
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Walter Gropius: Bauhaus, Dessau, Germany (1925-26)!
B""U"H""U"S"
U"
U"
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J.S. Bach: Harmonization of chorale, “Es ist genug so nimm, Herr”!
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J.S. Bach: Harmonization of chorale, “Es ist genug so nimm, Herr”!
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Anton Webern’s Use of the Row"
Symphonie, Op. 21 (1928):!
[0,1,3] P! [0,1,4] P! [0,1,4] R! [0,1,3] R!
P-6 = R-0!
Concerto, Op. 24 (1934):!
[0,1,4] P! [0,1,4] R! [0,1,4] I![0,1,4] RI!
String Quartet, Op. 28 (1937-38):!
P! I! P-8!
B A C H!P-9 = RI-0!
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Anton Webern: Concerto, Op. 24 (1934)—Movement I!
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Magic Square"
“The sower Arepo keeps the work turning.”"
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Integral Serialism"
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Anton Webern (1883-1945)!
Anton Webern (1883-1945) was perhaps the most significant influence on the post-WW II generation of composers.!
Integral Serialism"
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Integral Serialism"
Europe after World War II!
Dresden"
Warsaw"
§ Many European artists questioned the role of the artist in society following World War II.!
§ Composers attempted to remove themselves from the artistic process.!
§ Rational (intellectual) approaches favored over intuition/emotion.!
§ Unlike American serialists, the Europeans were concerned with the philosophical implications of serialism. !
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Integral Serialism: Early Examples "
§ Webern’s late works were the first examples of serialism extending beyond the pitch realm.!
§ Milton Babbitt: Three Compositions for Piano (1947)!
§ Olivier Messiaen: Mode de valeurs et dʼintensities for piano (1949-50) !
§ Karlheinz Stockhausen: Kreuzspiel for oboe, bass clarinet, piano, and two percussion (1951) !
§ Pierre Boulez: Structures for two pianos (1952)!
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Olivier Messiaen and his students at the Paris Conservatoire, including Karlheinz Stockhausen and Yvonne Loriod (c.1950).!
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Serial assignments in Messiaen’s Mode de valeurs et d’intensities (1949-50)!
.
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Olivier Messiaen: Mode de valeurs et d’intensities (1949-50)!
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Olivier Messiaen: Mode de valeurs et d’intensities (1949-50)!
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Integral Serialism"Pierre Boulez (b. 1925)!
Boulez (right) with former teacher Olivier Messiaen at the Odéon, Paris (1966).!
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Rows from Pierre Boulez’s Structures I (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Pierre Boulez: Structure Ib (1952)!
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Karlheinz Stockhausen (1928-2007)!
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The Beatles: Sergeant Pepper’s Lonely Hearts Club Band (1966)!
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Karlheinz Stockhausen: Kreuzspiel (1951)—Rotation of Rows!
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Karlheinz Stockhausen: Kreuzspiel (1951)!
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Karlheinz Stockhausen: Kreuzspiel (1951)!
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Karlheinz Stockhausen: Kreuzspiel (1951)!
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Serial Nomenclature "
(0, 0)! (3, 4)!(2, 7)!(1, 2)! (4, 6)!
Pitches in a series may be expressed numerically as an ordered pair, similar to the x and y coordinates on a two-dimensional graph: the ordinal number identifies the placement in the series; the pitch-class number identifies the pitch.!
Pitches (and placement) are labeled beginning with zero (0), which represents both the first position (in the ordinal number) and the pitch C (in the pitch-class number).!!
0 1 2 3 4 5 6 7 8 9 10 11 !
Pitches are labeled with numbers rather than letter names; these pitch class numbers do not have the tonal implications inherent to the traditional nomenclature.!
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Milton Babbitt (b. 1916)!
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Milton Babbitt: Three Compositions for Piano (1947)!
Hexachord A! Hexachord B!
P-6!
P-0!Hexachord A!
Hexachord A!
Hexachord B!
Hexachord B!
New Row" New Row"
Use of Combinatorial Hexachords:!
Tone Row (P-0):!
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Milton Babbitt: Three Compositions for Piano (1947)!
Prime (P-0, P-6)!
Retrograde (R-0, R-6)!
Inversion (I-1, I-7)!
Retrograde-Inversion (RI-1, RI-7) !
Permutation !Rhythm !Dynamic!
5 !+ !1 !+ !4 !+ !2 !( = 12)!
2 !+ !4 !+ !1 !+ !5!
1 !+ !5 !+ !2 !+ !4 !(modulo 6)!
4 !+ !2 !+ !5 !+ !1!
Tone Row (P-0):!
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Milton Babbitt: Three Compositions for Piano (1947) — Movement I!P-6!
P-0!
R-0!
RI-1!
5!
5!
1!
1!
2!
2!
4!
4!RI-7!
I-7!
I-1!
R-6!
4! 2!
5! 1!
2!
4!
1! 5!
1! 5! 2! 4!
2!4! 1!5!
1! 2!
2! 4! 1!
4!5!5!
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Development of Milton Babbitt’s Time-Point System "Application of rhythmic cell 1-4-3-2 in Composition for Four Instruments (1948): !
1 4 3 2!1 4! 1 4!
3 2!
3 2!
etc.!
(1)! (4)! (3)!
= unit: !
P-0:"
P-2:"
Rhythms derived from pitch classes in Composition for Twelve Instruments (1954): !
1 4 3 2!(2)!
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Development of Milton Babbitt’s Time-Point System "
Time points:!
Pitch set:�����!
Microrhythm:!
Macrorhythm:!
Each group of measures may be distinguished by a significant change in some parameter: e.g., dynamic, timbre, register, texture, density, tempo, etc.!
Adapted from Schwartz/Godfrey, Music Since 1945,.!
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Recursive Processes"
The Sierpinski Carpet (2-dimensional):!
The Menger Sponge (3-dimensional):!
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Influences of Serialism"
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Igor Stravinsky (1882-1971)!
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Igor Stravinsky (1882-1971)!
§ Completed last “neoclassical” work (The Rake’s Progress) in 1952.!§ Became interested in Webernian-style dodecaphony upon Schönbergʼs death in 1951.!§ Developed his personal serial technique throughout the 1950s.!§ Major works from this period include:!
• Agon (1952-54): transitional work from neoclassicism to serialism.!• Cantata (1952): first use of serialism.!• In memoriam Dylan Thomas (1954): first completely serial work (5-tone row).!• Canticum sacrum (1955): first use of 12-tone row.!• Threni (1957): first completely 12-tone work.!
Late Period Characteristics:!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!
§ Composed after the sudden death of Welsh writer Dylan Thomas (1914-1953).!
§ The number 5 is significant in this work: tone row, meter, and instrumentation of Song.!
§ Structured in three parts: a central Song (tenor and string quartet) flanked by two Dirge-canons (string quartet and trombone quartet).!
§ Thomasʼ poem “Do not go gentle into that Good Night” is the basis of the Song.!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!
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Igor Stravinsky: In Memoriam Dylan Thomas (1954)!