(1)
This is Arnold Schoenberg.
Indulge me for a moment and allow me to tell you about him!
Since the 1st Neanderthal bone flutes from 40.000 years ago, the European man’s relation to music has been ORGANIC – that is, the tonal system (do, ré, mi, etc.) is written in his DNA.
This is Arnold Schoenberg.
Indulge me for a moment and allow me to tell you about him!
Since the 1st Neanderthal bone flutes from 40.000 years ago, the European man’s relation to music has been ORGANIC – that is, the tonal system (do, ré, mi, etc.) is written in his DNA.
(2) Through the works of northern Europeans such as Wagner, Sibelius, etc., the 19th and (early) 20th century saw the emergence and apex of heroic orchestral music, giving rise to imagery and feelings that have buried within our subconscious mind.
(3) Enter SERIALISM!
“What is that?” – You might ask.
Well! The tonal system, which is capable of transmitting a range of human feelings (from sadness to nostalgia; from despair to heroism), is only recognized as such due to a hierarchy and organization present between the tones.
“What is that?” – You might ask.
Well! The tonal system, which is capable of transmitting a range of human feelings (from sadness to nostalgia; from despair to heroism), is only recognized as such due to a hierarchy and organization present between the tones.
(4) On the other hand, serialism, a “compositional” system invented by Arnold Schoenberg, destroys tonality (and all that it entails) with a vengeance.
How so?
By means of something called a tone-row. (see picture).
How so?
By means of something called a tone-row. (see picture).
(5) In a tone-row there’s no hierarchy of tones, hence the destruction of tonality.
Why? Because once tone one is played, it cannot be repeated until all others have been played – thus, all twelve chromatic tones of a scale are equal to each other in importance.
Why? Because once tone one is played, it cannot be repeated until all others have been played – thus, all twelve chromatic tones of a scale are equal to each other in importance.
(6) Let’s say that one chooses the row P0 from left to right (refer to figure).
Then, you must “melodically” play E, F, C#, Eb, etc., until the end of the 12-tone row.
Then, you must “melodically” play E, F, C#, Eb, etc., until the end of the 12-tone row.
(7) You can also distribute that sequence of notes between instruments in different ranges (from very low to very high) or play them simultaneously as “chords” (…try playing E, F, C# and Eb at the same time at the piano and you’ll feel your bowels moving!).
(8) Rhythms are also “serialized”, with numerical cells of beat patterns only being repeated after all others have been played.
In short, what results from Serialism is a cacophony of unbound “musical” horrors!
Screeches and moans; disjointed “melodies” that make no sense....
In short, what results from Serialism is a cacophony of unbound “musical” horrors!
Screeches and moans; disjointed “melodies” that make no sense....
(9) ...nothing is recognizable: no melody or rhythms.
It's like someone vomited on sheet music!
Worthy of mention: Serialism emerged alongside the modernist movement in all arts at the turn of the 20th century.
Here's a link from Schoenberg's music.
It's like someone vomited on sheet music!
Worthy of mention: Serialism emerged alongside the modernist movement in all arts at the turn of the 20th century.
Here's a link from Schoenberg's music.
(10) Schoenberg's work came to influence a plethora of other composers. Can you guess what Schoenberg’s origin was? (…and that of the many composers of serialism).
;)
;)
