Serialism - Revision history

Clintxxx: /* SerialismΩ */

2025-08-16T15:25:59Z

SerialismΩ

← Older revision		Revision as of 15:25, 16 August 2025
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	Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern\|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg\|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen\|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.		Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern\|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg\|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen\|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.

	<small><kbd>Ωref#<nowiki>[</nowiki> Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>		<small><kbd>Ωref#<nowiki>[</nowiki>Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>

Clintxxx: /* SerialismΩ */

2025-08-16T15:25:40Z

SerialismΩ

← Older revision		Revision as of 15:25, 16 August 2025
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	Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern\|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg\|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen\|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.		Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern\|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg\|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen\|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.

	<small><kbd>Ωref#<nowiki>[</nowiki>Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>		<small><kbd>Ωref#<nowiki>[</nowiki> Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>

Nemo at 01:12, 16 August 2025

2025-08-16T01:12:46Z

← Older revision		Revision as of 01:12, 16 August 2025
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	==Serialism==		==Serialism<sup>[http://www.xent.com/FoRK-archive/may98/0469.html Ω]</sup>==
	'''[related: the Second Viennese School, Matrix][disambiguation: [[error\|Creation Matrix]]]'''		'''[related: the Second Viennese School, Matrix][disambiguation: [[error\|Creation Matrix]]]'''
	----		----

Nemo: /* Serialism */

2025-08-16T01:11:36Z

Serialism

← Older revision		Revision as of 01:11, 16 August 2025
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	<small><kbd>Ωref#<nowiki>[</nowiki>Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>		<small><kbd>Ωref#<nowiki>[</nowiki>Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>

	~~Ωref this: Heinrich Kincaid -~~

Nemo: /* Serialism */

2025-08-16T01:11:28Z

Serialism

← Older revision		Revision as of 01:11, 16 August 2025
Line 4:		Line 4:
	Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern\|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg\|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen\|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.		Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern\|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg\|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen\|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.

	Ωref ~~this:~~ Heinrich Kincaid - http://www.xent.com/FoRK-archive/may98/0469.html		<small><kbd>Ωref#<nowiki>[</nowiki>Heinrich Kincaid<nowiki>]</nowiki> :: ''[http://www.xent.com/FoRK-archive/may98/0469.html Composer Webern was Double Agent for Nazis].''</kbd></small>

			Ωref this: Heinrich Kincaid -

Nemo: Created page with "==Serialism== '''[related: the Second Viennese School, Matrix][disambiguation: Creation Matrix]''' ---- Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective..."

2025-08-16T01:06:08Z

Created page with "==Serialism== '''[related: the Second Viennese School, Matrix][disambiguation: Creation Matrix]''' ---- Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective..."

New page

==Serialism==
'''[related: the Second Viennese School, Matrix][disambiguation: [[error|Creation Matrix]]]'''
----
Hyper-mathemetical and, some say, alienating system of music composition based on the sequential ordering of discrete musical elements according to a predetermined matrix - typically involving pitch but often extendable to parameters such as rhythm, dynamics, articulation, and timbre. Serialism emerged as an almost inevitable result of the myth of collective progress that plagued the 20th century. The practice was established in the early 20th century by the "Second Viennese School", particularly the innovations of Arnold Schoenberg, whose twelve-tone technique established a paradigmatic framework for "dodecaphonic" organization. Subsequent and even more dogmatic iterations, often referred to as "total serialism," extended the serial principle to encompass all aspects of musical structure, as exemplified in the works of composers such as [[Anton-webern|Anton Webern]]. Other composers, such as the hopelessly-romantic [[Alban-berg|Alban Berg]] and the outlandishly ambitious extraterrestrial [[Karlheinz-stockhausen|Karlheinz Stockhausen]], took a more freewheeling approach to the practice. Serialism was widely criticized for its perceived opacity, rigidity, and complete repudiation of "the music of the cosmos", leaving audiences throughout Europe and the United States ostracized and apathetic. Sustained and generous governmental funding of such startlingly unpopular mathematical music led to speculation in certain circles that serialism was being exploited for its cryptographical potential by various espionage agencies.

Ωref this: Heinrich Kincaid - http://www.xent.com/FoRK-archive/may98/0469.html