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Related to Serial technique: serial music, Serialist music


n. Music
1. Serial compositions.
2. The theory or composition of serial music.

se′ri·al·ist n.


(Music, other) (in 20th-century music) the use of a sequence of notes in a definite order as a thematic basis for a composition and a source from which the musical material is derived. See also twelve-tone


(ˈsɪər i əˌlɪz əm)

a technique for composing music in which tones are used in fixed sequences of arbitrary placement without regard for tonality.
se′ri•al•ist, n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.serialism - 20th century music that uses a definite order of notes as a thematic basis for a musical composition
music - an artistic form of auditory communication incorporating instrumental or vocal tones in a structured and continuous manner
12-tone music, 12-tone system, twelve-tone music, twelve-tone system - a type of serial music introduced by Arnold Schoenberg; uses a tone row formed by the twelve semitones of the chromatic scale (and inverted or backward versions of the row)
References in periodicals archive ?
Least convincing in this context, then, is the seventh chapter, which is the section most closely focused on Stravinsky's serial technique (pp.
Hoe-Gap Chung not only incorporated transcriptions of Nongak rhythms and modal and pentatonic scales, but also employed 12-tone serial technique.
Schoenberg's disciples applied his 12-tone or serial technique not just to tonality but eventually to every element of music, producing thereby ideologically organized noise.
After 1950, Finney's works incorporated a serial technique involving symmetrical hexachords.
Schoenberg's Variations for Orchestra, a spectacular vindication of the composer's embracing of the twelve-tone serial technique of composition, premiered by the Berlin Philharmonic in 1928, is followed by Beethoven's equally original Ninth Symphony - the first to admit the human voice into what had previously been entirely orchestral territory.
Escuedero's works from the 1950s draw heavily from Basque folk elements, but in his later pieces, the composer largely abandoned folk influences, experimenting with serial technique, rhythmic inventiveness, quarter-tone writing within conventional forms, and innovative instrumental sonorities.