Klarinet Archive - Posting 000596.txt from 2003/07

From: Sean Osborn <feanor33@-----.net>
Subj: Re: [kl] ClarinetFest - Serialism
Date: Mon, 21 Jul 2003 19:39:58 -0400

Better wording, but still not correct.
True serialism applies the numbers of the tone-row to other aspects of the
music: dynamics, instrumentation, effects, etc. Boulez's (and most other
composers') 1950s music is a good example of this. Strictly speaking, Berg
never used serialism, though he did use twelve-tone writing. Webern was
the first composer to take twelve-tone technique and apply it
elsewhere. Composers who found that interesting are the ones who invented
true serialism.

Personally, there isn't much serialism I like (Babbit's "All set" being an
exception).

And as long as I'm typing. One modern composer I really respect and admire
a lot is Aaron Jay Kernis. Check him out.

Cheers,

Sean Osborn

>Poor wording. Music can be serial and tonal - or serial and atonal - or a
>mix of the two. The critical factor is that there is a tone series which
>must be used. I was taught that tones couldn't be repeated until a "row"
>was finished. but they can be clustered into chords- which allows the same
>effect. Moreover you can have multiple permutations of a row moving
>contrapuntally but allowing repetitions of tone and a clear sense of
>tonality. Berg, Stravinsky and Sessions all used this to advantage.

www.geocities.com/osbornmusic
www.mp3.com/metopera/

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