Serialismi

Serialismo is a method in Western classical music that organizes pitch and sometimes other musical parameters through the use of a fixed series, most commonly a sequence of all twelve pitch classes in the chromatic scale. The approach treats the chosen series as the structural core of a composition, rather than relying on traditional tonal hierarchies. While the twelve-tone technique is central, serial procedures can also govern rhythm, dynamics, articulation, and timbre, leading to broader systems sometimes called total or integral serialism.

The origins of serialism are linked to the work of Arnold Schoenberg in the early 20th century, who proposed a tone row to determine the pitches used in a piece. The row can be manipulated through transformations such as transposition, inversion, retrograde, and retrograde inversion, producing related forms that maintain the original series’ material while varying its presentation. This framework aimed to avoid conventional tonal centers and cadences.

In the mid-20th century, composers extended serial principles beyond pitch to multiple dimensions, creating total serialism. This involved serial control of rhythm, dynamics, and other parameters, sometimes resulting in highly mathematical or meticulously organized textures.

Serialism influenced many postwar composers and movements, notably the Darmstadt School, including Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, and Milton Babbitt. It fostered experimentation and new ways of musical organization, but also faced criticism for perceived rigidity and emotional detachment. Today, serial techniques remain a foundational topic in music theory and analysis, while many composers blend serial procedures with broader expressive languages.