セリエル音楽

セリエル音楽またはセリー音楽（セリエルおんがく、セリーおんがく、レイボヴィッツが1947年に提唱したmusique sérielleに由来する。Serielle Musik, serial music ）とは戦後十二音技法から発展し、全面的パラメーターにわたって繰り返しを否定し秩序付けた音楽。音列主義 (Serialism, Serialismus, Serialität)とも呼ばれる。

**概要**
その糸口はメシアンのピアノ曲「4つのリズムのエチュード」（Quatre Études de rythme,1949-50）の第2曲「音価と強度のモード」（1949）である。この技法がダルムシュタットでブーレーズとシュトックハウゼンらに引き継がれ、特に後者は第五のパラメーターとして「空間」を創始した。イタリアのノーノはそう言ったウェーベルンやメシアンを経由せず、独自の全面セリエル技法を直接シェーンベルクから受け継ぎ編み出して、政治的事象と音楽を強く結びつけ、メシアンの語法とダルムシュタットの語法に鋭く対立した。

**受容と批判**
その後現れた一番典型的な批判として、「複雑すぎてみな同じように聞えてしまう」というものがある。だが、これは当時のセリーシステムそのものの限界からきており、セリエル音楽そのものに未来が無いわけではなかった、とする見解もある。これらの再分析は1990年代に1950年代の音楽をリチャード・トゥープなどが分析した結果明らかになったことである。意外にも当時のセリエル音楽の作曲者は「耳」で決めており、一度決めたシステムに最後まで盲従したり、音域を余り考慮していなかったりといった初歩的なミスも多かった。
楽曲分析、演奏、または鑑賞が非常に難解だと言う批判で、ある意味でこの技法は行き詰まってしまい、皮肉にも同じくシェーンベルクの弟子であるアメリカのジョン・ケージがこれらの思想をすべて壊してしまうまで時間はかからなかった。その後、カールハインツ・シュトックハウゼンやディーター・シュネーベルのようにケージ音楽を折衷・変形してセリエルな作曲法に導入したり、その思想の外観だけを残したポスト・セリエル音楽の時代に入って行った。

**関連項目**
トータル・セリエリズム

**参考文献**
Anon. n.d. "Arnold Schoenberg". Milken Archive of American Jewish Music (accessed 22 July 2008).
*Bandur, Markus. 2001. Aesthetics of Total Serialism: Contemporary Research from Music to Architecture. Basel, Boston and Berlin: Birkhäuser.
*Bochner, Mel. 1967. "The Serial Attitude". Artforum 6, no. 4 (December): 28–33.
*Boulez, Pierre. 1954. "… auprès et au loin". Cahiers de la Compagnie Madeleine Renaud–Jean-Louis Barrault 2, no. 3:7–27. Reprinted in Relevés d’apprenti, edited by Paule Thévenin. Collection "Tel quel". Paris: Éditions du Seuil, 1966, 183–203. Also reprinted in Points de repère, third edition, 1:287–314. Paris: Christian Bourgois, 1995. English version, as ". . .Auprès et au loin", in Pierre Boulez, Notes of an Apprenticeship, texts collected and presented by Paule Thévenin, translated by Herbert Weinstock, 182–204. New York: Alfred A. Knopf, 1968. Another English version, as "Near and Far", in Pierre Boulez, Stocktakings from an Apprenticeship, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 141–57. Oxford: Clarendon Press; New York: Oxford University Press, 1991. ISBN 0193112108.
*Campbell, Edward. 2010. Boulez, Music and Philosophy. Music in the Twentieth Century 27. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-86242-4.
*Cope, David. 1971. New Directions in Music. Dubuque, Iowa: W. C. Brown Co. ISBN 9780697035561.
*Cott, Jonathan. 1973. Stockhausen; Conversations with the Composer, New York: Simon & Schuster.
*Delahoyde, Michael. n.d. "20th-Century Music". Author's website, Washington State University.
*Felder, David. 1977. "An Interview with Karlheinz Stockhausen". Perspectives of New Music 16, no. 1 (Fall-Winter): 85–101.
*Forte, Allen. 1964. "A Theory of Set-Complexes for Music". Journal of Music Theory 8, no. 2 (Winter): 136-84.
*Forte, Allen. 1973. The Structure of Atonal Music. New Haven and London: Yale University Press.
*Forte, Allen. 1998. The Atonal Music of Anton Webern. New Haven: Yale University Press.
*Frisius, Rudolf. 1998. Serielle Musik. In: Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik. Second, newly compiled edition, edited by Ludwig Finscher, part 1 (Sachteil), vol. 8 (Quer–Swi): 1327–54. Kassel & New York: Bärenreiter; Stuttgart: Metzler. ISBN 978-3-7618-1109-2 (Bärenreiter) ISBN 978-3-476-41008-5 (Metzler).
*Gerstner, Karl. 1964. Designing Programmes: Four Essays and an Introduction, with an introduction to the introduction by Paul Gredinger. English version by D. Q. Stephenson. Teufen, Switzerland: Arthur Niggli. Enlarged, new edition 1968.
*Goeyvaerts, Karel. 1994. "Paris–Darmstadt 1947–1956: Excerpt from the Autobiographical Portrait", translated by Patrick Daly, Peter Vosch, and Roger Janssens. Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 48 (The Artistic Legacy of Karel Goeyvaerts: A Collection of Essays): 35-54.
*Grant, Morag Josephine. 2001. Serial Music Serial Aesthetics: Compositional Theory in Post-War Europe. Music in the Twentieth Century, Arnold Whittall, general editor. Cambridge: Cambridge University Press. ISBN 0-521-80458-2.
*Grant, Morag Josephine. 2006. Untitled review of Wege zum musikalischen Strukturalismus: René Leibowitz, Pierre Boulez, John Cage und die Webern-Rezeption in Paris um 1950, by Inge Kovács (Schliengen: Argus, 2003); Die soziale Isolation der neuen Musik: Zum Kölner Musikleben nach 1945, by Michael Custodis (Beihefte zum Archiv für Musikwissenschaft 54, Stuttgart: Franz Steiner, 2004); Reihe und System: Signaturen des 20. Jahrhunderts. Symposiumsbericht, edited by Sabine Meine (Monographien der Institut für Musikpädogogische Forschung der Hochschule für Musik und Theater Hannover 9, Hannover: Institut für Musikpädagogische Forschung, 2004). Music and Letters 87, no. 2 (May): 346–52.
*Griffiths, Paul. 1978. Boulez. Oxford Studies of Composers 16. London and New York: Oxford University Press. ISBN 0-19-315442-0.
*Griffiths, Paul. 2001. "Serialism". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell, 23:116–23. London: Macmillan Publishers.
*Guderian, Dietmar. 1985. "Serielle Strukturen und harmonikale Systeme". In Vom Klang der Bilder: die Musik in der Kunst des 20. Jahrhunderts, edited by Karin von Maur, 434–37. Munich: Prestel-Verlag.
*Heinemann, Stephen. 1998. "Pitch-Class Set Multiplication in Theory and Practice". Music Theory Spectrum 20, no. 1:72-96.
*Jalowetz, Heinrich. 1944. "On the Spontaneity of Schoenberg's Music". (Subscription access) The Musical Quarterly 30, no. 4 (October): 385–408.
*Keller, Hans. 1955. "Strict Serial Technique in Classical Music". Tempo (new series) no. 37 (Autumn): 12-16, 21-24.
*Koenig, Gottfied Michael. 1999. Ästhetische Praxis: Texte zur Musik, Supplement I, edited by Stefan Fricke, Wolf Frobenius, and Sigrid Konrad. Quellentexte der Musik des 20. Jahrhunderts 1.4. Saarbrücken: Pfau-Verlag, 1999. ISBN 3-89727-056-0.
*Leibowitz, René. 1947. Schoenberg et son école: l'étape contemporaine du langage musical. Paris: J.B. Janin. (English edition, as Schoenberg and His School: The Contemporary Stage in the Language of Music. Translated by Dika Newlin. New York: Philosophocal Library, 1949).
*Lerdahl, Fred. 1988. "Cognitive Constraints on Compositional Systems". In Generative Processes in Music, ed. John Sloboda. Oxford: Oxford University Press. Reprinted in Contemporary Music Review 6, no. 2 (1992):97-121.
*Lerdahl, Fred, and Ray Jackendoff. 1983. A Generative Theory of Tonal Music. Cambridge, Mass.: MIT Press.
*Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc. ISBN 0-8108-5356-6.
*Mead, Andrew. 1985. "Large-Scale Strategy in Arnold Schoenberg's Twelve-Tone Music". Perspectives of New Music 24, no. 1 (Fall-Winter): 120–57.
*Meyer, Leonard B. 1967. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Chicago and London: University of Chicago Press. (Second edition 1994.)
*Morgan, Robert. 1975. "Stockhausen's Writings on Music". (Subscription access) The Musical Quarterly 61, no. 1 (January): 1–16. Reprinted in the Musical Quarterly 75, no. 4 (Winter 1991): 194–206.
*Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez’ «Le Marteau sans maître». Saarbrücken: Pfau-Verlag.
*Newlin, Dika. 1974. "Secret Tonality in Schoenberg's Piano Concerto". Perspectives of New Music 13, no. 1 (Fall-Winter):137-39.
*Perle, George. 1962. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. Berkeley: University of California Press.
*Perle, George. 1977. Twelve-tone Tonality. Berkeley: University of California Press.
*Pousseur, Henri. 1959. "Forme et pratique musicales". Revue Belge de Musicologie 13:98–116. Slightly revised and expanded version, trans. into English as “Music, Form and Practice (An Attempt to Reconcile Some Contradictions)”. Die Reihe 6 (1964): 77–93.
*Pousseur, Henri. 1970. "En guise de conclusion: Pour une Périodicitée generalisée". In his Fragments théoriques I: Sur la musique expérimentale, 241–90. Études de sociologie de la musique. Brussels: Editions de l’Institut de Sociologie Université Libre de Bruxelles.
*Pousseur, Henri. 1997. "Zeitmasze: série, périodicité, individuation". Chapter 12 of his Musiques croisées, preface by Jean-Yves Bosseur, 171–89. Collection Musique et Musicologie. Paris: L'Harmattan.
*Ross, Alex. 2007. The Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus and Giroux, ISBN 978-0-374-24939-7.
*Ruwet, Nicolas. 1959. "Contradictions du langage sériel". Revue Belge de Musicologie 13 (1959), 83–97. English trans., as “Contradictions within the Serial Language”. Die Reihe 6 (1964): 65–76.
*Sabbe, Herman. 1977. Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode 1950–1975. Ghent: Rijksuniversiteit te Gent.
*Schoenberg, Arnold. 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein, translated by Leo Black. Berkeley and Los Angeles: University of California Press. ISBN 0-520-05294-3.
*Schwartz, Steve. 2001. "Richard Yardumian: Orchestral Works". Classical Net (Accessed 10 May 2011).
*Shatzkin, Merton. 1977. "A Pre-Cantata Serialism in Stravinsky". Perspectives of New Music 16, no. 1 (Fall-Winter): 139–43.
*Smith Brindle, Reginald. 1966. Serial Composition. London, New York: Oxford University Press.
*Steinberg, Michael. 1998. The Symphony: A Listener's Guide. Oxford: Oxford University Press.
*Stockhausen, Karlheinz, and Rudolf Frisius. 1998. "Es geht aufwärts". In: Karlheinz Stockhausen, Texte zur Musik 9, edited by Christoph von Blumröder, 391–512. Kürten: Stockhausen-Verlag.
*Straus, Joseph N. 1999. "The Myth of Serial 'Tyranny' in the 1950s and 1960s" (Subscription access). The Musical Quarterly 83:301–43.
*Sykora, Katharina. 1983. Das Phänomen des Seriellen in der Kunst: Aspekte einer künstlerischen Methode von Monet bis zur amerikanischen Pop Art. Würzburg: Könighausen + Neumann.
*Tick, Judith. 2001. "Crawford (Seeger), Ruth (Porter)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
*Walker, Alan. 1986. Franz Liszt, volume two: The Weimar years 1848-1861. New York: Knopf. ISBN 9780394525402.
*Whittall, Arnold. 2008. The Cambridge Introduction to Serialism. Cambridge Introductions to Music. New York: Cambridge University Press. ISBN 978-0-521-86341-4 (hardback) ISBN 978-0-521-68200-8 (pbk).
*Wörner, Karl H. 1973. Stockhausen: Life and Work, introduced, translated, and edited by Bill Hopkins. London: Faber and Faber; Berkeley and Los Angeles: University of California Press. ISBN 0-520-02143-6.