Serial music — music composed with the help of serial technique. The principle of S. m does not predetermine k.-l. specific harmonic. systems. She is chosen as the composer for this Op. along with the series. The composer turns to serial technique when the major-minor system turns out to be unsuitable for the realization of his idea. However, there is also a S. m., quite definitely colored from the point of view of major and minor, albeit in their updated and free structure (A. Berg’s Violin Concerto, g-moll – B-dur; 1st part of the 3rd symphony K. Karaeva, f-moll). S. m. is not indifferent to the type of music. imagery; thus, it does not apply to Op. everyday songs and dances, cheerful popular music. Nevertheless, the figurative range of S. m. is quite wide. Among the works written using the serial technique are Webern’s sublime and refined love poem “The Light of the Eyes” (op. 26), the biblical legend “Moses and Aaron” by Schoenberg, the drama “Lulu” by Berg, reviving neo-baroque polyphony “Canticum sacrum » Stravinsky and op., belonging to the field of op. miniatures (“6 paintings” by Babajanyan). The style and individuality of a gifted composer are, to one degree or another, imprinted in the S. m., and partly in the nat. specificity. For example, the individuality of Schoenberg and Webern is manifested in their S. m. with complete certainty. Despite the lack of folklore, S. m., For example, Webern – purely Austrian, Viennese; it cannot be imagined as French or Russian. In the same way, S. m. L. Nono (for example, in “The Interrupted Song”) bears the seal of Italian. cantilenas.
References: Denisov E., Dodecaphony and problems of modern composing technique, in: Music and Modernity, vol. 6, M., 1969. See also Dodecaphony, Seriality.
Yu. N. Kholopov