Serial Composition and Atonality; An Introduction to the Music of Schoenberg, Berg, and Webern

Mel Powell; George Perle

doi:10.2307/842916

Structure and Sorcery: The Aesthetics of Post-War Serial Composition and Indeterminacy

Notes ◽

10.2307/942050 ◽

1991 ◽

Vol 48 (2) ◽

pp. 497

Author(s):

Jeffrey L. Prater ◽

Roger W. H. Savage ◽

Nachum Schoffman ◽

Anne Trenkamp ◽

John G. Suess

Keyword(s):

Post War ◽

Serial Composition

The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text

Journal of the American Musicological Society ◽

10.1525/jams.2010.63.3.553 ◽

2010 ◽

Vol 63 (3) ◽

pp. 553-640 ◽

Cited By ~ 1

Author(s):

Chandler Carter

Keyword(s):

Close Analysis ◽

Symphony Of Psalms ◽

Rake's Progress ◽

Serial Composition

Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. Discovery of this evolution in his approach to setting text also entails a reassessment of the composer's aesthetic concerns.

Serialism for Today

Tempo ◽

10.1017/s004029820002636x ◽

1969 ◽

pp. 2-7

Author(s):

Roger Smalley

Keyword(s):

The South ◽

Music Festival ◽

The Third ◽

Pierre Boulez ◽

Milton Babbitt ◽

The Future ◽

Serial Composition

The occasion for this article is the recent appearance of revised editions of two important works on serialism—Josef Rufer's Composition with Twelve Tones, first published in English in 1954 (now Composition with Twelve Notes, Barrie and Rockliff, 35/–), and George Perle's Serial Composition and Atonality (subtitled ‘An Introduction to the Music of Schoenberg, Berg and Webern'), which originally appeared in 1962 (Faber, 55/–). In addition I shall be referring to two recent events in London which proved to be stimulating contributions to the discussion of serialism: the seminars given by Milton Babbitt during the third SPNM Composers' Weekend, and a talk entitled ‘Schoenberg and the future’ given by Pierre Boulez as part of the South Bank Summer Music festival.

The System presented in Stravinsky’s Serial Composition,

Music and Culture ◽

10.17091/kswm.2012..26.55 ◽

2012 ◽

Vol null (26) ◽

pp. 55-74

Author(s):

sunhyun Ahn

Keyword(s):

Serial Composition

ETHNOGRAPHY IN CAESAR'S GALLIC WAR AND ITS IMPLICATIONS FOR COMPOSITION

The Classical Quarterly ◽

10.1017/s0009838819000405 ◽

2019 ◽

Vol 69 (1) ◽

pp. 246-263 ◽

Cited By ~ 1

Author(s):

Tyler Creer

Keyword(s):

English Language ◽

Julius Caesar ◽

Insight Into ◽

Serial Composition

After long neglect, in English-language scholarship at least, the question of how Julius Caesar wrote and disseminated his Gallic War—as a single work? in multi-year chunks? year by year?—was revived by T.P. Wiseman in 1998, who argued anew for serial composition. This paper endeavours to provide further evidence for that conclusion by examining how Caesar depicts the non-Roman peoples he fights. Caesar's ethnographic passages, and their authorship, have been a point of contention among German scholars for over a century, but reading them and the rest of the text with eyes unclouded by the exhausted debate about possible interpolation reveals details that bear upon wider questions of composition. In these passages Caesar devised an ethnographic framework in order to rank against one another the levels of threat posed by different barbarian peoples, downplaying the relative ferocity of the Gauls in contrast to other groups in an effort to magnify the peril the others posed to Rome and the glory to be obtained from their defeat. This ethnographic framework is significant for understanding Caesar's method both because it provides insight into Caesar's reasons for including the ethnographic passages and because it implies that the Gallic War was composed in, at a minimum, four stages: Books 1–2, where the framework is first developed and used, by 56 b.c.; Books 3–4 and 5–6, where it is elaborated and extended, by 54 and 52 b.c. respectively; and finally Book 7, after 52 b.c., when Caesar, in recounting the campaign against Vercingetorix, was forced to abandon and contradict the ethnographic framework in a fashion that suggests that the earlier books were already in circulation, preventing him from adjusting them to the new circumstances of the campaign of that year.

Serial composition of human milk in preterm and term mothers

Indian Journal of Clinical Biochemistry ◽

10.1007/bf02913072 ◽

2006 ◽

Vol 21 (1) ◽

pp. 89-94 ◽

Cited By ~ 18

Author(s):

A. P. S. Narang ◽

H. S. Bains ◽

Shivani Kansal ◽

D. Singh

Keyword(s):

Human Milk ◽

Serial Composition