THE DEVELOPMENT OF TWELVE-NOTE AND SERIAL TECHNIQUES IN THE MUSIC OF POLISH TWENTIETH-CENTURY COMPOSERS

• Authors: Lindstedt Iwona
• Languages of publication: EN

Abstracts

EN

The reception of the twelve-note and serial techniques in the output of Polish composers is a discontinuous phenomenon, marked by the re-evaluation of the function of serial rules resulting from a strong need for preserving individual aesthetic identity. The chronology of this reception is divided by the authoress into three phases, embedded in a general descriptive model of 'fluctuations of modernism'. The first phase (1926-1944) is represented by works of Koffler, Majerski and Regamey, the second (1948-1955), termed as the 'outlawed' modernism - by Roman Haubenstock-Ramati and other members of the 'dodecaphonic diaspora': Roman Palester, Konstanty Regamey, Karol Rathaus, as well as Boguslaw Schaeffer. The third phase (1956-1976) was characterized by the coexistence of transformatory procedures derived from dodecaphony with other technical solutions such as sonorism and indeterminacy. The article ends with a conclusion that dodecaphony and serialism played a much more significant part in the history of 20th-century Poland than it has been traditionally accorded to them.

Keywords

EN

MUSICAL RECEPTION; POLISH 20TH C. COMPOSERS; SERIALISM; TWELVE-NOTE MUSIC

Discipline

• ARTS_&_ARCHITECTURE: ARTS & ARCHITECTURE

• Publisher: Sciendo
• Journal: Musicology Today
• Year: 2005
• Volume: 2
• Pages: 106-125
• Document type: ARTICLE

Contributors

author

Lindstedt Iwona

• Iwona Lindstedt, Uniwersytet Warszawski, Instytut Muzykologii, ul. Krakowskie Przedmiescie 32, 00-927 Warszawa, Poland

Identifiers

CEJSH db identifier

09PLAAAA067224