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In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameters"), such as duration, dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architecture (; ), and the musical concept has also been adopted in literature (; ; ). Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch . Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism . Composers such as Arnold Schoenberg, Anton Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Milton Babbitt, Charles Wuorinen and Jean Barraqué used serial techniques of one sort or another in most of their music. Other composers such as Béla Bartók, Luciano Berio, Benjamin Britten, John Cage, Aaron Copland, Olivier Messiaen, Arvo Pärt, Walter Piston, Ned Rorem, Alfred Schnittke, Dmitri Shostakovich, and Igor Stravinsky used serialism only for some of their compositions or only for some sections of pieces, as did some jazz composers such as Yusef Lateef and Bill Evans. ==Basic definitions== Serialism is a method , "highly specialized technique" , or "way" of composition. It may also be considered, "a philosophy of life (''Weltanschauung''), a way of relating the human mind to the world and creating a completeness when dealing with a subject" . However, serialism is not by itself a system of composition, nor is it a style. Neither is pitch serialism necessarily incompatible with tonality, though it is most often used as a means of composing atonal music . "Serial music" is a problematic term because it is used differently in different languages and especially because, shortly after its coinage in French, it underwent essential alterations during its transmission to German . The use of the word "serial" in connection with music was first introduced in French by René , and immediately afterward by Humphrey Searle in English, as an alternative translation of the German ''Zwölftontechnik'' twelve-tone technique or ''Reihenmusik'' (row music); it was independently introduced by Herbert Eimert and Karlheinz Stockhausen into German in 1954 as ''serielle Musik'', with a different meaning, translated into English also as "serial music". 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Serialism」の詳細全文を読む スポンサード リンク
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