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Mavericks and Other Traditions in American Music$
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Michael Broyles

Print publication date: 2004

Print ISBN-13: 9780300100457

Published to Yale Scholarship Online: October 2013

DOI: 10.12987/yale/9780300100457.001.0001

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New Directions

New Directions

The Serial Wars

Chapter:
(p.153) Chapter 7 New Directions
Source:
Mavericks and Other Traditions in American Music
Author(s):

Broyles Michael

Publisher:
Yale University Press
DOI:10.12987/yale/9780300100457.003.0007

American composers were profoundly affected by World War II and the events leading to it. In the 1930s, many European musicians came to the United States because of events in Europe, the most well known of whom were Arnold Schoenberg and Béla Bartók. After the war, the Western musical world became one as composers crisscrossed, doing, learning, interacting. Around 1950, serious composers suddenly diverged in two entirely different but radical paths. Some of them extended the ideas of Schoenberg and Anton Webern, relying on mathematical calculations to totally determine every nuance of a piece. Others sought to eliminate the will and emotion of the composer. Musical developments took three very different directions after the war: serialism, aleatoric experimentalism, and minimalism. The serialists, led by Pierre Boulez, adopted and extended Schoenberg's concept of the tone row to every musical parameter. However, total serialism was discovered even earlier by Milton Babbitt.

Keywords:   composers, World War II, Arnold Schoenberg, Anton Webern, serialism, aleatoric experimentalism, minimalism, Pierre Boulez, tone row, Milton Babbitt

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