https://en.wikipedia.org/wiki/Serialism https://en.wikipedia.org/wiki/Set_theory_(music) … Also this totally wrecks the logarithmic/harmonic relationships between notes and doesn't generally make good music (but people do it nonetheless).
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Are there tonal systems under which serialist inversion would be more faithful. Idk, pentatonic? (cc
@kayfaraday) -
GUD QUESTION, a lot of pretty meaty (even common practice, lol) tonal music does many of the things ascribed to serialism (strict development/economy of motives, playing rows upside down & backwards), very “interval on interval” music, but its accepted as its hierarchically tonal
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usually this is achieved by fudging intervals in material so that it conforms w/ a more coherent overtone series, and this naturally eventually broke down over the course of classical music and became more chromatic until it is de facto chromatic enough to be “atonal” music
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part of what schoenberg achieved in the dodecaphonic system was ensuring that tone rows would cover all twelve notes, and thus allow for a large amount of motivic ingenuity while still having a roughly average distribution of notes over time. BUT,
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usually its difficult to figure out what people mean by serialism. there is a double whammy in effect where ppl that critique it r both used to tonal music, *and* used to only very limited amts of intervallic play/motivic development in their music
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when in practice, there is lots of music that is very rigorous in intervallic play that is tonal and well liked (brahms, late beethoven, strict baroque forms) AND music that is atonal and not very rigorous in intervallic play, and well liked (late debussy & scriabin)
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so usually when people deride serialism its a critique on both very “meaty” substance-over-style music AND near-uniform atonality simultaneously, and not realising that separately those things r well liked. so its not a particularly novel thing *to* serialism
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