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From the earliest years of the 20th century composers sought ways in which to break from earlier musical traditions. Serialism is one of the most prominent innovations resulting from this. From Schoenberg to Stockhausen, Berg to Boulez, this introduction tells the story of how serialism emerged, and provides a basic outline of serial compositional techniques. • Introduces serialism - a traditionally complex but key area of music studies - in a thorough and straightforward way • Clearly and concisely describes the technical aspects of serialism, using illustrative music examples • Contains a glossary to aid readers unfamiliar with specialised vocabulary.
- Sales Rank: #1498237 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2008-11-10
- Released on: 2008-10-16
- Original language: English
- Number of items: 1
- Dimensions: 9.72" h x .63" w x 6.85" l, 1.35 pounds
- Binding: Paperback
- 300 pages
- Used Book in Good Condition
Review
"Cambridge University Press - and more specifically Victoria Cooper, the senior commissioning editor from music and theater - is to be congratulated for formulating the idea on an 'Introduction to Music' series. Indeed, if Arnold Whittall's excellent Serialism is anything to go by - the first book in the series and in every respect its guiding light - then clearly we have much to look forward to in future publications. Serialism fulfills its role as an introductory text with great aplomb and rigorous academic integrity. It will almost certainly attract many undergraduate and graduate supporters, and the technical discussions and analysis will no doubt provide university teachers with invaluable teaching materials... Whittall has shown to a wider, more general readership that serialism is not 'one of the great lost causes of twentieth-century music' a some argued, but rather is a vital and integral part of the warp and weft of 20th-century music." --Musical Times
About the Author
Arnold Whittall is Professor Emeritus at King's College London.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Engaging introduction to twelve-tone music and later serialist techniques from the Second Viennese School to the late 20th c.
By Christopher Culver
This book by Arnold Whittall aims to familiarize readers that already have a firm knowledge of music theory with serialism, from its beginnings with the Second Viennese School to later 20th-century composers in Europe and the United States. This is essentially a textbook, abounding with samples from the scores and charts and diagrams illustrating serialist composers' permutational games, but it never gets too dry and I found it enjoyable.
Nearly half of the book is dedicated to Arnold Schoenberg (as the technique's inventor), Alban Berg, and Anton Webern. Not only are there separate chapters for each of the Second Viennese School composers, but Whittall goes back and offers a second chapter for Schoenberg, noting how his later serialist works differ from his earlier ones. I found that this considerably expanded my appreciation of Schoenberg's music. Another strong point of the book's coverage is its look at Josef Matthias Hauer; many readers may already be aware that there was someone exploring twelve-tone rows independently of Schoenberg at the same time, but Whittall explains what Hauer's music was like and why his peers and later musicians found him such a mediocre composer compared to Schoenberg.
The remainder of the book consists of several chapters alternately entitled "American Counterpoints" or "European Repercussions". These trace how Schoenberg's peers and heirs used the methods he invented, taking it in new directions and sometimes eschewing uses that Schoenberg favored. A major point of Whittall's book is that even composers who expressly denied they were writing twelve-tone serialism (e.g. Elliott Carter, Iannis Xenakis, Alexander Goehr) nonetheless used techniques in a very similar spirit.
The downside of the book is that the composers after the Second Viennese School get less and less treatment, so that by the time we are past Milton Babbitt and a few Darmstadt figures (Luigi Nono, Pierre Boulez, Luciano Berio), the commentary is reduced to some comparative generalities without really reflecting the richness of their art. For example, I was happy to see Per Nørgård included in Whittall's survey, but Whittall leaves out his most famous serialist technique (the so-called infinity series) for a description of a somewhat minor piano piece in his output.
Still, this is a useful book and shouldn't be left only to students in a course: ordinary fans of 20th-century modernism will also get more out of their favorite music after reading this book.
1 of 24 people found the following review helpful.
More about a subject which matters less and less
By John H. Ryskamp
The book is a good discussion of faux intellectualism. Not much cultural context for serialism, however. That is, not much discussion of it in relation to the twentieth century's obsession with non-existant paradoxes. This obsession managed to work its way down to musicians, who are not known for intellectual prowess. Serialism has less and less interest every day, for people living in the 21st century. It will soon seem as impenetrable as Christian theology, and its influence on the actual music will seem just as attentuated. Fortunately, Schoenberg, Webern and Berg realized that the compositional process was, as Schoenberg described it, a "dream." One day, critics will subordinate the "serial" part of their analysis to the "dream" part of their analysis (by the way, this book contains none of the "dream" analysis). Until then, real connoisseurs of the music will just continue to enjoy it against the backdrop of their own knowledge of the legacy. They will continue to take the "Plath cure." Remember what she said? "I pour a glass of wine, put on the Schubert, and sail away."
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