Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe
Composers of serial music in post-war Europe wrote almost as much about music as the music itself, but the relationship between theory and practice in the work of key figures like Stockhausen, Eimert, Pousseur and Schnebel has often been misrepresented. This book, which focuses on the controversial journal Die Reihe, traces serialism's cultural history, its debt to the artistic theories of Klee and Mondrian, and its relationship to contemporary developments in concrete art, poetry and information aesthetics, sketching a aesthetic theory of serialism as an experimental music.
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electronic and serial music 19451954
chaos or order?
Webern and Debussy
Serial music as an aleatoric process
Music and language
wherefore and why?
abstract abstract art acoustical aleatoric analysis Anton Webern argues artistic aspect become Bense Beyer bla bla bla Boulez central Chapter characteristics complex composition conception context created criticism critique Debussy Debussy's defined demonstrate die Reihe discussion dRl(D dynamic Eimert electronic music elements emphasise essay example experimental music fundamental Gesang der Junglinge Goeyvaerts Gruppe 47 harmonic hearing Henri Pousseur Herbert Eimert human Ibid idea implications important individual information theory instruments Kagel Karlheinz Stockhausen Kirchmeyer Klavierstuck Klee Koenig language Ligeti listening material method Meyer-Eppler modern Mondrian movement music theory Musik musique concrete nature notes original parameters particular piece pitch possible post-war Pousseur present principle problem realisation reception reflected Reihe relation relationship Schnebel Schoenberg semantic serial aesthetic serial composers serial form serial music serial theory serialism's serialists sine tone sound specific statistical structure Stuckenschmidt suggested technique temporal tendency timbre tonal traditional twelve-tone twelve-tone technique Webern