But they were perceived, especially by serialists based in universities who claimed the intellectual high ground, as dated and irrelevant.
|
|
I sometimes imagine an alternate universe where Boulez never withdrew his 24-tone serialized Polyphonie X and it went on to inspire a generation of quartertone integral serialists.
|
|
As opera it may not be first-rate, but it is still important as the work of a composer who is arguably a missing link between the prewar Austro-German serialists (Schönberg, Berg) and postwar modernists (Henze to Stockhausen).
|
|
It really takes a sound musicality to invent a succession of stimulating ideas within the bounds of an unaltered mode and without shifting the home-tone.Lou Harrison, "Alan Hovhaness Offers Original Compositions", New York Herald Tribune (June 18, 1945), p. 11. However, as before, there were also critics: :The serialists were all there. And so were the Americanists, both Aaron Copland's group and Virgil [Thomson]'s.
|
|
Described by Terry Teachout, he said Górecki has "more conventional array of compositional techniques includes both elaborate counterpoint and the ritualistic repetition of melodic fragments and harmonic patterns." His first works, dating from the last half of the 1950s, were in the avant-garde style of Webern and other serialists of that time. Some of these twelve-tone and serial pieces include Epitaph (1958), First Symphony (1959), and Scontri (1960) (Mirka 2004, p. 305).
|
|
Jean Coulthard, (February 10, 1908 - March 9, 2000) was a Canadian composer and music educator. She was one of a trio of women composers who dominated Western Canadian music in the twentieth century: Coulthard, Barbara Pentland, and Violet Archer. All three died within weeks of each other in 2000. Her own work might be loosely termed "prematurely neo-Romantic", as the orthodox serialists who dominated academic musical life in North America during the 1950s and 1960s had little use for her.
|
|
He brought the theory of atonal music to Brazil, creating the group "Musica Viva" and inflating the debate between the "Nationalists" and "Serialists". While the former group believed in the use of folklore material for the development of their compositions, the latter believed that the more rational approach of the European school was the path to truly contemporary works. This debate played a central role in the esthetic developments of Brazilian classical music throughout the 20th Century.A Musica Classica Brasileira Hoje, Editora Folha de Sao Paulo, 2007.
|
|
Meanwhile, Webern's characteristically passionate pan-German nationalism and censurable, sordid political sympathies (however naive or delusional and whether ever dispelled or faltered) were not widely known or went unmentioned; perhaps in some part due to his personal and political associations before the German Reich, his degradation and mistreatment under it, and his fate immediately after the war. Significantly as relates to his reception, Webern never compromised his artistic identity and values, as Stravinsky was later to note. It has been suggested that the early 1950s' serialists' fascination with Webern was concerned not with his music as such so much as enabled by its concision and some its apparent plainness in the score, thereby facilitating musical analysis; indeed, composer Gottfried Michael Koenig speculates on the basis of his personal experience that since Webern's scores represented such a highly concentrated source, they may have been considered the better for didactic purposes than those of other composers. Composer thus criticized the approach of early serialists to Webern's music as reductive and narrowly focused on some of Webern's apparent methods rather than on his music more generally, especially neglecting timbre in their typical selection of Opp. 27–28.
|
|
Kolisch, Rankl, Stein, Steuermann, Zillig) as performers, in disseminating the ideals, ideas and approved repertoire of the group. Perhaps the culmination of the school took place at Darmstadt almost immediately after World War II, at the Internationale Ferienkurse für Neue Musik, wherein Schoenberg—who was invited but too ill to travel—was ultimately usurped in musical ideology by the music of his pupil, Webern, as composers and performers from the Second Viennese School (e.g. Leibowitz, Rufer, Adorno, Kolisch, Heiss, Stadlen, Stuckenschmidt, Scherchen) converged with the new serialists (e.g. Boulez, Stockhausen, Maderna, Nono, et al.).
|
|
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.
|
|
Whilst in Sonios, Corona also engaged in other musical co‐operations like Elohim (1994‐1995), an experimental multimedia group, and Arvoles (1995‐1997), an acoustic‐ambient crossover project including a female vocalist. Then Corona got to compose for modern dance ensembles in Ensenada, an experience that led him to develop a taste for modern academic music, from the dodecaphonism and minimalism of the early 20th century to the experimentalists and serialists of the mid 1900s. Also, he grew tired of pre‐1900 classical music having listened to it for all his teens and adolescence. Upon hearing Xenakis’ Oresteia, plus later Pleiades and Metastasis, as well as Ligeti’s Lux Aeterna his perception of music altered immediately and drastically.
|
|
Todd, . Todd also notes that, by use of retrograde, inversion, and retrograde-inversion, composers of this time viewed music in a way similar to serialists of the 20th century.Todd, . However, as Edmund points out, “This is, of course, a purely mental concept, as music can never do anything but go forwards, even if the given tune is reversed. The different relationships set up by reversing the direction of a theme make it completely unrecognizable; and when a composer indulges in this device the disclosure of it makes not the slightest difference to our apprehension of the music, which must be listened to as going parallel with the time-processes of our existence.”Rubbra, .
|
|
Austrian composer Anton Bruckner was a great inspiration to Rautavaara in the beginning of his career Along with Erik Bergman, Rautavaara was one of the pioneers of serial composing in Finland in the early 1950s, although in the end he completed only several serial works. His most important works from the period are the Third and Fourth Symphony, and the opera Kaivos (The Mine), which saw only a television production in 1963, but was a source of material for the string orchestra pieces Canto I (1960) and Canto II (1961), and for the Third String Quartet (1965). Even his serial works from the period carry obvious romantic and post-expressionist notes stylistically closer to Alban Berg and Anton Bruckner than more straightforward serialists such as Pierre Boulez. Rautavaara himself referred to the Third as the "Bruckner's symphony".
|
|
Though often atonal, highly abstract, and dissonant in sound, New Complexity music is most readily characterized by the use of techniques which require complex musical notation. This includes extended techniques, complex and often unstable textures, microtonality, highly disjunct melodic contour, complex layered rhythms, abrupt changes in texture, and so on. It is also characterized, in contrast to the music of the immediate post–World War II serialists, by the frequent reliance of its composers on poetic conceptions, very often implied in the titles of individual works and work-cycles. The origin of the name New Complexity is uncertain; amongst the candidates suggested for having coined it are the composer Nigel Osborne, the Belgian musicologist Harry Halbreich, and the British-Australian musicologist Richard Toop, who gave currency to the concept of a movement with his article "Four Facets of the New Complexity" , an article that nevertheless emphasized the individuality of four composers (Richard Barrett, Chris Dench, James Dillon, and Michael Finnissy), both in terms of their working methods and the sound of their compositions, and which demonstrated they did not constitute a unified "school of thought" .
|
|