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Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/46748

dc.creatorThomson, William
dc.date.accessioned2010-08-20T21:09:00Z
dc.date.available2010-08-20T21:09:00Z
dc.date.issued2010-04
dc.identifier.citationEmpirical Musicology Review, v5 n2 (April 2010), pp 36-50en_US
dc.identifier.issn1559-5749
dc.identifier.otherEMR000085a
dc.identifier.urihttps://doi.org/10.18061/1811/46748
dc.identifier.urihttp://hdl.handle.net/1811/46748
dc.description.abstractThis study examines the descriptive mores of Serialism, as found in writings of leading American academics of the past half-century. A serious gap is revealed, especially between claims made for structural conditions rooted in dodecaphonic procedures and the actual kinetics of music as heard. Curious (and debilitating) ambiguities and dead ends are noted in terms used to define critical perceptual conditions in such music; some claims of significance for features of 12- tone rows in certain works are revealed as wholly irrelevant to music as sonic event. Most prominent of the writings discussed are those of Milton Babbitt, Allen Forte and David Lewin.en_US
dc.language.isoenen_US
dc.publisherEmpirical Musicology Reviewen_US
dc.subjectSerialismen_US
dc.subject12-tone methoden_US
dc.subjectmusic perceptionen_US
dc.titleEmpirical Musicology Review: Serialist Claims versus Sonic Realityen_US
dc.typeArticleen_US


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