57 Sentences With "serialist" | Random Sentence Generator

He makes short shrift of intellectual condescension toward Puccini, and of serialist composers' snobbish disdain for tonal pieces.

Mr. Reich, for instance, found himself programmed back to back with the serialist and computer-music pioneer Milton Babbitt.

A basic command of psychology can be helpful in programming concert music — especially when it comes to the famously thorny Serialist compositions by Milton Babbitt.

For better or worse, Babbitt, who died in 2011 at 94, is best known as an avowed serialist whose ingeniously organized pieces strike many listeners as impenetrably complex.

He launched music-appreciation projects on television at a time when network executives considered Stravinsky's serialist score "The Flood," with choreography by Balanchine, suitable for a mass public.

After the Second World War, prodigiously complex systems of organizing music spread to all corners of the globe: twelve-tone composition, its serialist variants, chance operations, and so on.

Here and there, passages of gritty harmonic intensity, brief eruptions of skittish instrumental lines, and other restless touches remind you that he earned a doctorate at Princeton under the serialist Milton Babbitt.

While Mr. Harnoncourt blasted atonal and serialist composers (like Mr. Boulez) for music that "satisfied neither the musician nor the public," he, like Mr. Boulez, saw a vacuum that needed to be filled.

In "Ravel Ravel," by producing a situation where two pianists play the same concerto, but with shifts that take them out of sync and then back into sync, one starts to hear things that only came about later in the history of music: The composition travels across time to become at moments jazzy, at moments serialist, at moments about syncopation, and at moments more like minimal music from the '70s or the '80s.

Lewis adopted them for his Chronicles of Narnia.Inchbald, Guy; "The Last Serialist: C.S. Lewis and J.W. Dunne", Mythlore, Issue 137, Vol. 37 No. 2, Spring/Summer 2019, pp. 75-88.

Tower's early music reflects the influence of her mentors at Columbia University and is rooted in the serialist tradition, whose sparse texture complimented her interest in chamber music. As she developed as a composer Tower began to gravitate towards the work of Olivier Messiaen and George Crumb and broke away from the strict serialist model. Her work became more colorful and has often been described as impressionistic. She often composes with specific ensembles or soloists in mind, and aims to exploit the strengths of these performers in her composition.

He has also studied musicology at the University of Helsinki. Heininen is one of the most important Finnish modernist composers. His works can be roughly divided into two periods: dodecaphonic (c. 1957–1975) and serialist (from 1976 onwards).

Although his compositional ideas remained strictly serialist, as a conductor Leibowitz had broad sympathies, performing works by composers as diverse as Gluck, Beethoven, Brahms, Offenbach and Ravel, and his repertory extended to include pieces by Gershwin, Puccini, Sullivan and Johann Strauss.

Peter Evans, "Britten's television opera". Musical Times, 112(1), 425–428 (1971). The music is influenced by Britten's interest in twelve-tone serialist techniques. A large tuned percussion section anticipates the musical treatment of his next (and last) opera, Death in Venice.

The Listener's Club. Retrieved 10 June, 2020. It was during this time that Rautavaara had become disenchanted with the serialist and twelve-tone techniques of his previous works, and abandoned them in favor of a more idiosyncratic, romantic, and avant-garde style.Rickards, Guy (2016).

"Composer Richard Wernick: A > Conversation with Bruce Duffie", December 27, 1993 As such, critics have sometimes identified his style as more audience- accessible, particularly when compared to more strictly serialist composers of the 20th century.Horowitz, Joseph. "Wernick's 'Introits and Canons'". The New York Times.

Wuorinen's work has been described as serialist, but he came to disparage that term as meaningless. He was awarded the Pulitzer Prize for Music for Time's Encomium, his only purely electronic piece. Wuorinen was also an academic teacher at several institutions including Columbia University and Manhattan School of Music.

Szabelski began working in the neoclassical and romanticism modes typical of the early 20th century. He adopted the serialist techniqueSteinberg, Michael. "The Symphony: A Listener's Guide". New York: Oxford University Press, 1998 p. 172 in the 1950s and was one of a number of Polish new wave of composers to embrace atonality.

By doing this, he rejected the serialist musical style he pioneered and advocated in Estonia and turned to a much denser, minimalistic musical language. Pärt finally completed the symphony in 1971 and premiered it at the Estonia Concert Hall in Tallinn, with the dedicatee, Estonian conductor Neeme Järvi, who conducted the Estonian National Symphony Orchestra, on 21 September 1972.

Charles Roland Berry (born 1957 in Boston, Massachusetts) is an American composer. He studied music history and music composition at the University of California with Peter Racine Fricker. Fricker taught him the intricate details of serialist music, and to discipline his musical imagination. He was not the best of students, due to his enthusiastic attitude and very short attention span.

Maurizio Costanzo and Ghigo De Chiara wrote the lyrics of "Se telefonando" ("If Over the Phone") as the theme for the TV program Aria condizionata in spring 1966. The lyrics were composed in a dark, Hal David mode. The serialist composer Ennio Morricone was asked to compose the music. Mina and the three songwriters met in a RAI rehearsal room at Via Teulada, Rome.

Despite a political climate that was unfavorable to modern art (often denounced as "formalist" by the communist authorities), post-war Polish composers enjoyed an unprecedented degree of compositional freedom following the establishment of the Warsaw Autumn festival in 1956. Górecki had won recognition among avant-garde composers for the experimental, dissonant and serialist works of his early career; he became visible on the international scene through such modernist works as Scontri, which was a success at the 1960 Warsaw Autumn, and his First Symphony, which was awarded a prize at the 1961 Paris Youth Bienniale. Throughout the 1960s, he continued to form acquaintanceships with other experimental and serialist composers such as Pierre Boulez and Karlheinz Stockhausen. During the 1970s, Górecki began to distance himself from the serialism and extreme dissonance of his earlier work, and his Third Symphony, like the preceding choral pieces Euntes ibant et flebant (Op.

He was the director of the Naples conservatory from 1950 to 1953, and later director of the National Conservatory of Colombia in Bogotà. Jachino was also inspector of music curriculum for the Italian Ministry of Education. Although a proponent of twelve-tone technique Jachino wasn't always a strict serialist. According to Reginald Smith Brindle, his Piano Concerto (1952), performed in Florence in 1955,"was a miracle in avoiding all that dodecaphony implies".

Jazz magazine, April 1965. Ellis briefly formed the first version of his big band at this time but disbanded it when he received a Rockefeller Foundation-funded Creative Associate fellowship at the University at Buffalo's contemporary classical music-oriented Center of the Creative and Performing Arts for the 1964-1965 academic year. During his time in Buffalo, Ellis performed jazz, serialist and aleatoric pieces and other forms of composition with such figures as Lukas Foss, George Crumb and Paul Zukofsky.Ellis, Don.

A distinguishing feature of Pӓrt’s music is the way he has used it throughout his career in protest against different Russian governments. He composed serialist works when it was an aesthetic criticized by soviets, and composed religious music when the Soviet Union suppressed and persecuted Christianity. The symphony is dedicated to Mikhail Khodorkovsky, a Russian oil executive and Russia's most politically active oligarch who was accused of and currently imprisoned for fraud. The piece is a protest against Vladimir Putin in its dedication.

Goehr is also committed to the reinvention of classical forms such as the Symphony, the classical Concerto, and the Baroque Suite (from his Suite Op. 11 of 1961 right up to Symmeteries Disorder Reach of 2007). Further sources of inspiration are the treatises on musical ornamentation by Carl Philip Emanuel Bach, and Monteverdi, whose synthesis of renaissance polyphony with the early baroque move towards homophony and the control of harmony clearly mirrors Goehr's own commitment to a harmonically expressive serialist practice.

They had two other children. With her second husband, she became involved in literary journalism as a critic, columnist, serialist, and storyteller; they also co-authored novels. Viollis affiliated with L'Écho de Paris and Excelsior, writing in favor of women's emancipation and the rights of the mother. From 1914, she worked at the newspaper Le Petit Parisien, staying twenty years, where she turned to major reporting and covered diverse areas, including sporting events, major trials, political interviews, and war correspondence.

In 1992-93, having been awarded a grant by the French Government, he studied at the École Normale de Musique in Paris. In his compositions, Stradomski seeks new solutions in the domain of construction rather than new effects in sound. In some works, he employs serialist or dodecaphonic techniques, though not treating them rigoristically. He draws on the experience of aleatorism and uses elements of jazz, combining them with different composing techniques that he invented (often for the use of a single work).

Her second release was a single titled "Kyōkai-sen/Iris", which came out on January 30, 2013. "Kyōkai-sen" was used in the movie Sayonara Debussy, which came out on January 26 of that year. On June 12, 2013, her third single "Tegami" came out, and was used in the movie and was used in the movie "The Serialist", which was based on the book by David Gordon (novelist). Her final release with King Records was "Kasu", which came out on January 15, 2014.

The influence of Isaac was especially pronounced in Germany, due to the connection he maintained with the Habsburg court. He was the first significant master of the Franco-Flemish polyphonic style who both lived in German-speaking areas, and whose music was widely distributed there. It was through him that the polyphonic style of the Netherlands became widely accepted in Germany, making possible the further development of contrapuntal music there. The Austrian serialist composer Anton Webern (1883–1945) gained his Ph.D on Isaac's Choralis Constantinus, with Prof.

He was then hired by EMI in 1957 as assistant to the "classical" artistic director René Challan, a position he held until 1960. In particular, he was responsible for recordings by artists such as Samson François, Heitor Villa-Lobos, Paul Tortelier, Aldo Ciccolini. Despite a favourable reception for his first compositions, the dislocation of the group "Pentacorde" and the appearance of the "serialist episode" encouraged him to abandon music for good. He then made a career as a senior executive in an international company.

The instruments used to measure this concept of "cognitive style" are either Driver's Decision Style Exercise (DDSE) (Carey, 1991) or the Complexity Self-Test Description Instrument, which are somewhat ad hoc and so are little used at present. Gordon Pask (Carey, 1991) extended these notions in a discussion of strategies and styles of learning. In this, he classifies learning strategies as either holist or serialist. When confronted with an unfamiliar type of problem, holists gather information randomly within a framework, while serialists approach problem- solving step-wise, proceeding from the known to the unknown.

Unlike a traditional theme and variations, Copland's Piano Variations are not episodic . They are continuously played through, in an undisrupted development of the seven-note "row" in the theme from which Copland builds the rest of the piece, "in what I hope is a consistently logical way" . All of the content can be traced back to this or transpositions of this seven-note motif, suggesting the serialist techniques of Schoenberg. The concision, rigor, and lack of ornamentation have been compared to that of the style of Anton Webern .

Other significant piano works include the Haydn Variations (1983), written to commemorate the 250th anniversary of Haydn's birth (; ; ). McCabe's style evolved gradually from an initial lyrical constructivism through a serialist phase, with a fascination with repetitive patterns leading to a more complex combination of processes to achieve more subtle forms of continuity . Rickards states that his influences included Vaughan Williams, Britten, Tippett and Karl Amadeus Hartmann , and he was also influenced by non-classical music including rock and jazz . He had a long-lasting association with the Presteigne Festival .

In 1955, Goehr left Manchester to go to Paris and study with Messiaen, and he remained in Paris until October 1956. The music scene of Paris would make a great impression on Goehr, who became good friends with Pierre Boulez and was involved in the serialist avant-garde movement of those years. Goehr experimented with Boulez's technique of bloc sonore, particularly in his first String Quartet of 1956–57. Boulez was a sort of mentor to Goehr in the late fifties, programming his new compositions in his concerts at the Marigny Theatre in Paris.

Embracing the Parisian avant-garde, Foucault entered into a romantic relationship with the serialist composer Jean Barraqué. Together, they tried to produce their greatest work, heavily used recreational drugs and engaged in sado-masochistic sexual activity. In August 1953, Foucault and Barraqué holidayed in Italy, where the philosopher immersed himself in Untimely Meditations (1873–76), a set of four essays by the philosopher Friedrich Nietzsche. Later describing Nietzsche's work as "a revelation", he felt that reading the book deeply affected him, being a watershed moment in his life.

Conversation theory describes interaction between two or more cognitive systems, such as a teacher and a student or distinct perspectives within one individual, and how they engage in a dialog over a given concept and identify differences in how they understand it. Conversation theory came out of the work of Gordon Pask on instructional design and models of individual learning styles. In regard to learning styles, he identified conditions required for concept sharing and described the learning styles holist, serialist, and their optimal mixture versatile. He proposed a rigorous model of analogy relations.

However, some more traditionally based composers such as Dmitri Shostakovich and Benjamin Britten maintained a tonal style of composition despite the prominent serialist movement. In America, composers like Milton Babbitt, John Cage, Elliott Carter, Henry Cowell, Philip Glass, Steve Reich, George Rochberg, and Roger Sessions, formed their own ideas. Some of these composers (Cage, Cowell, Glass, Reich) represented a new methodology of experimental music, which began to question fundamental notions of music such as notation, performance, duration, and repetition, while others (Babbitt, Rochberg, Sessions) fashioned their own extensions of the twelve-tone serialism of Schoenberg.

Wood's works are always cogently constructed, knitting together densely wrought counterpoint with rigorous motivic working, sometimes using a personalized serialist language. His music commands a broad communicative range: it can be violently expressionistic, poignantly lyrical, or even, as in the jazz inflected Piano Concerto, exuberantly rhythmic. Wood likes to compose slowly and he typically prefers chamber music genres, though several of his large- scale works, such as his Symphony and Violin Concerto, are amongst his best known. In recent years he has contributed several articles on music to The Times Literary Supplement.

Alexander Glazunov Glazunov's most popular works nowadays are his ballets The Seasons and Raymonda, some of his later symphonies, particularly the Fourth, Fifth and Sixth, the Polonaise from Les Sylphides, and his two Concert Waltzes. His Violin Concerto, which was a favorite vehicle for Jascha Heifetz, is still sometimes played and recorded. His last work, the Saxophone Concerto (1934), showed his ability to adapt to Western fashions in music at that time. The earlier rebellions of the experimental, serialist and minimalist movements passed him by and he never shied away from the polished manner he had perfected at the turn of the century.

Throughout the 1930s his style developed from a diatonic style with bursts of chromaticism to a consciously serialist outlook. He went from using twelve-tone rows for melodic material to structuring his works entirely serially. With the adoption of serialism he never lost the feel for melodic line that many of the detractors of the Second Viennese School claimed to be absent in modern dodecaphonic music. His disillusionment with Mussolini's regime effected a change in his style: after the Abyssinian campaign he claimed that his writing would no longer ever be light and carefree as it once was.

It received its première in Boston at the Symphony on January 14, 1934 by the orchestra, conducted by Charles Previn. The piece starts off with the repetitions of four rising innocent clarinets notes on pentatonic scale, which opens the melody of the original song. The orchestra joins in after a brief piano answer to the clarinet. The piano and the orchestra state the main themes of the song which then is followed by a series of variations in the styles of waltz, atonal/serialist, oriental, jazz, a variation where the treble and bass sections are inverted, and then a grand restatement and finale.

But after meeting Robert Craft and other younger composers, Stravinsky began to study Schoenberg's music, as well as that of Webern and later composers, and to adapt their techniques in his work, using, for example, serial techniques applied to fewer than twelve notes. During the 1950s he used procedures related to Messiaen, Webern and Berg. While it is inaccurate to call them all "serial" in the strict sense, every major work of the period has clear references to serialist ideas. During this period, the concept of serialism influenced not only new compositions but also scholarly analysis of the classical masters.

Due to Babbitt's work, in the mid-20th century serialist thought became rooted in set theory and began to use a quasi-mathematical vocabulary for the manipulation of the basic sets. Musical set theory is often used to analyze and compose serial music, and is also sometimes used in tonal and nonserial atonal analysis. The basis for serial composition is Schoenberg's twelve-tone technique, where the 12 notes of the chromatic scale are organized into a row. This "basic" row is then used to create permutations, that is, rows derived from the basic set by reordering its elements.

In the latter, the actors declaim portions of speech to a specified rhythm over instrumental accompaniment, peculiarly similar to the older German genre of Melodrama. Well after his Rimsky-Korsakov-inspired works The Nightingale (1914), and Mavra (1922), Stravinsky continued to ignore serialist technique and eventually wrote a full-fledged 18th-century-style diatonic number opera The Rake's Progress (1951). His resistance to serialism (an attitude he reversed following Schoenberg's death) proved to be an inspiration for many other composers.Oxford Illustrated History of Opera, Chapter 8; The Viking Opera Guide articles on Schoenberg, Berg and Stravinsky; Malcolm MacDonald Schoenberg (Dent,1976); Francis Routh, Stravinsky (Dent, 1975).

Leibowitz, c. mid-1960s René Leibowitz (; 17 February 1913 – 29 August 1972) was a Polish, later naturalised French, composer, conductor, music theorist and teacher. He was historically significant in promoting the music of the Second Viennese School in Paris after the Second World War, and teaching a new generation of serialist composers. Leibowitz remained firmly committed to the musical aesthetic of Arnold Schoenberg, and was to some extent sidelined among the French avant-garde in the 1950s, when, under the influence of Leibowitz's former student, Pierre Boulez and others, the music of Schoenberg's pupil Anton Webern was adopted as the orthodox model by younger composers.

During the 1950s, critics assumed that Nilsson employed the serial techniques of the composers whose style he was imitating, and whose notational devices his scores borrowed. In 1961, however, he created a scandal in Sweden and Germany when he published an article in which he admitted that he had been "bluffing", and had merely used his ear to create music in the so-called Darmstadt style . Despite this public confession, he is still sometimes described in reference works as a "serialist" , and even as "one of the first to serialize open-form and chance techniques" . Nilsson had encouraged the assumption that serialism was used in his compositions, in part by peppering his scores with numbers.

After its successful San Francisco premiere, Grand Pianola Music was booed by a significant proportion of the audience at its New York premiere in the summer of 1982. According to the composer, "True, it was a very shaky performance (Adams did not conduct), and the piece came at the end of a long concert of new works principally by serialist composers from the Columbia-Princeton school. In the context of this otherwise rather sober repertoire, Grand Pianola Music must doubtless have seemed like a smirking truant with a dirty face, in need of a severe spanking." Despite the reaction, Adams maintains that the piece was not intended to "thumb its nose" at the rest of the "high art" pieces being performed at the event.

Mariétan studied first at the Geneva Conservatory in 1955–60 with Marescotti and later with, amongst others, Pierre Boulez, Bernd Alois Zimmermann, Gottfried Michael Koenig, Henri Pousseur, and Karlheinz Stockhausen, and his earliest works are squarely in the serialist camp . During the 1960s he began creating outline sketches for improvisation, and beginning in the 1970s became increasingly interested in environmental sound and the problem of noise pollution. In 1966 he was a founder of the Groupe d'Etude et Réalisation Musicales (GERM), and in 1979 founded the Laboratoire Acoustique et Musique Urbaine de l'Ecole d'Architecture de Paris La Villette, which he directed until 1990. Mariétan taught at the University of Paris (I et VIII) from 1969 to 1988 and at the Ecole d'Architecture de Paris la Villette in 1993.

His use of these 12-tone and serialist techniques were highly uncommon in Finland at the time, allowing Rautavaara to become a controversial figure, and pushing him to the forefront of the Finnish classical music scene, alongside composers Joonas Kokkonen and Erkki Salmenhaara. In the mid-1960s, however, Rautavaara fell into a creative crisis with serialism, realizing that the composition method was immensely laborious and its distance from the outcome too large. He later recalled that "...the modernism of that time, [...] that is the serialism in music, which I had experimented with, [...] was not a road for me to follow." He experimented and found a resolution towards the end of the decade, when he began to explore different styles as he had earlier done in the Third Symphony.

Since then he composed a number of pieces before making his name with the serialist 'Threnody for Toki' in 1981. Soon afterwards, he became disenchanted with atonal music, and began to compose in a free neo-romantic style with strong influences from jazz, rock and Japanese classical music, underscoring his reputation with his 1985 guitar concerto. , Yoshimatsu has presented six symphonies, 12 concertos: one each for bassoon, cello, guitar, trombone, alto saxophone, soprano saxophone, marimba, chamber orchestra, traditional Japanese instruments, and two for piano (one for the left hand only and one for both hands), a number of sonatas, and various shorter pieces for ensembles of various sizes. His 'Atom Hearts Club Suites' for string orchestra explicitly pay homage to the Beatles, Pink Floyd and Emerson, Lake & Palmer.

Ferguson regarded him as extraordinarily brilliant, having perhaps the greatest talent of any British composer in his generation, though lacking in a personal style. During this time, Bennett attended some of the Darmstadt summer courses in 1955, where he was exposed to serialism. He later spent two years in Paris as a student of the prominent serialist Pierre Boulez between 1957 and 1959.Robert Ponsonby "Sir Richard Rodney Bennett: Composer whose work encompassed serialism, tonality and popular music", The Independent, 26 December 2012 He always used both his first names after finding another Richard Bennett active in music. Bennett taught at the Royal Academy of Music between 1963 and 1965, at the Peabody Institute in Baltimore, United States from 1970 to 1971, and was later International Chair of Composition at the Royal Academy of Music between 1994 and the year 2000.

While, as Malcolm MacDonald states in his 1990 sleeve note for Unicorn- Kanchana, "it is one of three compositions (with Symphony no 2 and the Variations for Orchestra) to display...the internal logic...[of] Schoenbergian serial techniques," the Second Quartet's language is neither neo-Expressionist or serialist; rather, it uses Schoenberg's fierce logic to create the impression of a seamlessly unfolding tonal song that, creating its own haunting, individual sound world, draws the listener in with its emotional power. The Cello Concerto (1952) attracted the distinguished artist Alexander Baillie as its soloist (accompanied by the BBC Philharmonic under Edward Downes), while the Symphony no.1 (1945), a cry of "Liberation" after Nazism, could seem gestural with its looser structure. However, what strikes the listener is the Symphony's imaginative playfulness, a stylistic approach that could be described as the logic of the unexpected.

In 1973, Russell moved to New York and enrolled in a formal degree program at the Manhattan School of Music, cross-registering in electronic music and linguistics classes at Columbia University. While studying at the conservatory, Russell repeatedly clashed with Pulitzer Prize-winning serialist composer and instructor Charles Wuorinen, who disparaged the composition "City Park" (a minimalist, non- narrative suite incorporating readings from the works of Ezra Pound and Gertrude Stein) as "the most unattractive thing I've ever heard". Embittered by his experience, Russell briefly considered transferring to Dartmouth College at the behest of experimental composer Christian Wolff, whom he had sought out and befriended upon arriving in the Northeast. But after a chance meeting at a Wolff concert in Manhattan, he became close with Rhys Chatham, who arranged for Russell to succeed him as music director of The Kitchen, a downtown avant-garde performance space.

Tolkien and Lewis were both members of the Inklings literary circle. Tolkien also used Dunne's ideas about parallel time dimensions in developing the relationship between time in Middle-earth and "Lórien time".Flieger, V.; A Question of Time: JRR Tolkien's Road to Faerie, Kent State University Press, 1997. Lewis used the imagery of serialism in the afterlife he depicted at the end of The Last Battle, the closing tale in the Chronicles of Narnia.Inchbald, Guy; "The Last Serialist: C.S. Lewis and J.W. Dunne", Mythlore Issue 137, Vol. 37 No. 2, Spring/Summer 2019, pp. 75-88. Other important contemporary writers who used his ideas included John Buchan (The Gap in the Curtain), James Hilton (Random Harvest), his old friend H. G. Wells (The Queer Story of Brownlow’s Newspaper and The Shape of Things to Come), Graham Greene (The Bear Fell Free) and Rumer Godden (A Fugue in Time).Dermot Gilvary; Dangerous Edges of Graham Greene: Journeys with Saints and Sinners, Continuum, 2011, p.101.

In the middle of the 20th century, the most influential New York composers included the Massachusetts native and conductor and composer Leonard Bernstein, known for his works Prelude, Fugue, and Riffs, Serenade for Solo Violin, Strings, Harp and Percussion, Chichester Psalms, and the musicals On the Town and West Side Story. Another major composer was Elliott Carter, whom John Warthen Struble claimed would likely be remembered as "the most significant of the mid-20th century... composers [because he] reconceived and restructured the fundamental language of Western art music in evolving his powerful personal style... his music has earned immense respect from colleagues of virtually every esthetic stripe, as well as three generations of performing musicians and audiences." Carter's compositions include Eight Etudes and a Fantasy for Wind Quintet and a Sonata for 'cello and piano. In addition to Carter and Bernstein, in the mid-20th century New York produced the film composer Bernard Herrmann, Gunther Schuller, and serialist Leon Kirchner.

It was Richard Wagner's music that inspired Dallapiccola to start composing in earnest, and Claude Debussy's that caused him to stop: hearing Der fliegende Holländer while exiled to Austria convinced the young man that composition was his calling, but after first hearing Debussy in 1921, at age 17, he stopped composing for three years in order to give this important influence time to sink in. The neoclassical works of Ferruccio Busoni would figure prominently in his later work, but his biggest influence would be the ideas of the Second Viennese School, which he encountered in the 1930s, particularly Alban Berg and Anton Webern. Dallapiccola's works of the 1920s (the period of his adherence to fascism) have been withdrawn, with the instruction that they never be performed, though they still exist under controlled access for study. His works widely use the serialism developed and embraced by his idols; he was, in fact, the first Italian to write in the method, and the primary proponent of it in Italy, and he developed serialist techniques to allow for a more lyrical, tonal style.