Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music

UNIVERSITY OF CALIFORNIA

BIBLIOGRAPHIC GUIDES

SERIAL MUSIC

A Classified Bibliography

of Writings on Twelve-Tone

and Electronic Music

by ANN PHILLIPS BASART

1961

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY AND LOS ANGELES

University of California Presa

Berkeley and Los Angeles. California

Cambridge University Press

London, England

O 1881 by The Regents of the University of California

Library of Congress Catalog Card Number: 61-7538

Manufactured in the United States of America

In Memoriam E. S. S.

PREFACE

The twelve-tone technique, once thought to be the private and unintelligible musical language of a small group of composers, is today one of the most important influences in European and American music. Although it still creates a great deal of controversy, and although it has not yet been widely accepted by the general public, dodecaphony has achieved a permanent status in the history of music.

Schönberg is not yet in ‘Grove’ (1910), and the notices in other works of reference are infinitesimal, wrote Charles Maclean in an early article on Schoenberg. Today the situation has changed so much that not only is Schoenberg in Grove’s Dictionary, but articles and books about him, the twelve-tone technique, and other composers who use the technique continue to be written at an ever-increasing rate.

Because of this great body of writing, it is difficult for anyone interested in serial music to know where to begin. A few related bibliographies have appeared to date, but none so far with the purpose and scope of the present work. The most extensive bibliographies on Schoenberg, Berg, and Webern have appeared in René Leibowitz’s Schoenberg and his school (1949), Luigi Rognoni’s Espressionismo e dodecafonia (1954), Josef Rufer’s Composition with twelve notes (1954), and George Perle’s dissertation, Serial composition and atonality (1956; revised edition. University of California Press, 1961). Rognoni and Rufer list unpublished writings by these composers on a variety of topics —important information that is outside the scope of the present work.

Donald Mitchell has compiled a selective bibliography that lists writings on twelve-tone music and composers (Hinrichsen’s Musical yearbook, 1952), but he does not indicate the contents of these writings. Since his list is taken from secondary sources, the bibliographical information offered varies widely and is in many cases quite scanty. Helmut Kirchmeyer’s book, Igor Strawinsky (1958), contains a lengthy bibliography on contemporary music which includes some entries on serial music and composers.

Appearing too late for inclusion in the present work is a bibliography of books and articles on experimental music, compiled by Celestin De- liëge and printed in the Revue Belge de musicologie [Special issue on experimental music], 8:136-148 (1959). It is preceded (p. 132-136) by an excellent discussion of the writings of the most important authors in the field. The bibliography is alphabetically arranged within each of the following categories: Ouvrages, Articles, Témoignages d‘écrivains, Divers, and Ouvrages et articles relatifs à l’électroacoustique musicale. It is principally concerned with the European avant-garde.

Other lists have appeared from time to time in periodical articles and in chapters of specialized books. Most of these are quite brief, and none indicates contents.

The present work is an attempt to gather together a large number of the significant writings—philosophical, historical, and analytical—which have appeared on serial music, and to arrange them by subject. Serial music* is used in a wide sense here, because this bibliography includes not only twelve-tone music and electronic music (a very recent development, growing out of serial techniques), but also touches upon such related fields as musical expressionism, pre-dodecaphonic atonality, musique concréte, and chance" music.

The bibliography is arranged in a classified manner, with entries under each topic subarranged chronologically. There are an author index and a subject index. Almost every entry is followed by a brief annotation, indicating the contents, scope, and/or general idea of the book or article The present work is not, however, a critical bibliography, and, although an attempt has been made to guide the reader by means of the annotations, the quality of the material listed varies rather widely.

Ann P. Basart

CONTENTS 1

PREFACE

CONTENTS 1

INTRODUCTION

ABBREVIATIONS

I TWELVE-TONE MUSIC

II ELECTRONIC MUSIC

III THE VIENNESE SCHOOL

IV OTHER COMPOSERS

AUTHOR INDEX

SUBJECT INDEX

INTRODUCTION

ARRANGEMENT

The bibliography is divided into four main sections:

1. Twelve-tone music

2. Electronic music

3. The Viennese school (Schoenberg, Berg, Webern) These three sections have a classified arrangement.

4. Other composers who use serial techniques This section is arranged alphabetically by composer.

The topics into which each section is divided are listed in the table of contents. All the entries under each topic are arranged chronologically. Where books and periodicals have the same year of publication, the books are listed first and the periodicals follow by months. Each entry is given in full only once, under the topic it most closely fits. Cross-references refer the user to related entries under other topics; they are arranged chronologically in with the entries.

FORM OF ENTRY

Articles

Entry for an article in a periodical:

491 Mantelli, Alberto. Note su Alban Berg, Rass mus 9:117-132 (Apr 1936). Mus.

This article by Mantelli will be found in the periodical Rassegna musicale (see the list of abbreviations, p. xiii) in volume 9, pages 117-132, for April 1936. There are musical examples.

Entry for an article in a book:

296 Stefan, Paul. Arnold Schoenberg in Thompson, Oscar, ed. Great

modern composers. New York, Dodd, Mead, 1941, p. 267-277.

Stefan’s article is one of several in Thompson’s book, and will be found on pages 267-277.

Books

Monographs

448a Wõrner, Karl H. Gotteswort und Magie: die Oper ’Moses und Aron’ von Arnold Schönberg. Heidelberg, Lambert Schneider, 1959. 93 p. Mus., port.

Wörner’s book, Gottes wort und Magie: die Oper ’Moses und Aron’ von Arnold Schönberg, was published in Heidelberg by Schneider in 1959, has 93 pages and includes some musical examples and a portrait (of Schoenberg).

Collections

168 Junge Komponisten. Wien, Universal Edition [c!958]. 133 p. Diagrs., mus., tables. (Die Reihe: Information über serielle Musik, 4.)

The title of this book is Junge Komponisten, published in 1958 by Universal Edition in Vienna. It has 133 pages and contains diagrams, musical examples, and tables. It is the fourth publication in the series, Die Reihe. (Because all the articles in the collection are relevant to the subject of this bibliography, they are listed in detail after the entry, and also will be found in the author index.)

Cross-references

See no. 89 (Reich, Willi. Versuch einer Geschichte der Zwölftonmusik in Alte und neue Musik. 1952).

This particular cross-reference, found under the general works on Arnold Schoenberg, refers the user back to Reich’s article, which is listed in full under the history of twelve-tone music. For a general explanation of the cross-reference system, see Arrangement, above.

TO USE THE BIBLIOGRAPHY

If you wish to find all the writings on one topic:

Consult the table of contents (p. ix-x) if the topic is a broad one (such as history of twelve-tone music, Boulez —compositional techniques, or Schoenberg—biography).

Consult the subject index (p. 147-151) if the topic is more specialized (e.g., Italy—twelve-tone composition, Indeterminacy in musical composition, Marxist criticisms of twelve-tone music, Permutation of serial elements, or Combinatoriality).

If you wish to locate all the writings by one author that are included in this bibliography, use the author index (p. 129-146).

If you want analyses and discussions of a particular composition, look up the composer in the table of contents; his works will be listed in alphabetical order at the end of his section. Individual compositions are not included in the subject index.

If you know the title of a book that has no author (e.g., Der blaue Reiter), but do not know what subject to look under, use the author index; some title entries are included there.

Note: An asterisk (♦) indicates an item not seen; bibliographical information for these items has been taken from the Union Catalog at the Library of the University of California, Berkeley.

ABBREVIATIONS

[xiii 1

I

TWELVE-TONE MUSIC

PHILOSOPHY AND CRITICISM

1 Busoni, Ferruccio Benvenuto. Entwurf einer neuen Ästhetik der Tonkunst. 2., erweiterte Ausg. Leipzig, Insel-verlag [1916]. 48 p.

Post-Wagnerian aesthetics. Discussion of new subdivisions of the octave.

See no. 128 (Eimert, Herbert. Atonale Musiklehre, 1924).

2 Tiessen, Heinz. Zur Geschichte der jüngsten Musik (1913-1928). Mainz, Schotts Söhne [cl928]. 91p.

Partial contents: Expressionismus, p. 39-42; Schönberg, p. 44—46, et passim.

Aesthetics of the music of 1913-1928.

3 Adorno, Theodor Wiesengrund. Zur Zwölftontechnik, Anbruch 11: 290-294 (Sept/Oct 1929).

General considerations of the twelve-tone technique: its audibility; whether it is mathematical. Largely a discussion of Schoenberg.

4 Berg, Alban. What is atonality? in Slonimsky, Nicolas. Music since 1900. 3d ed., rev. and enl. New York, Coleman-Ross, 1949, p. 671-677.

A translation by M. D. H. Norton from a radio talk given by Berg on the Vienna Rundfunk, April 23, 1930.

Italian translation in Rognoni, p. 290-303 (see no. 94).

First published as Was ist Atonal? in 23, eine wiener Musikzeitschrift, no. 26/27 (June 8, 1936).

5 Pacque, Désiré. L’atonalité, ou mode chromatique unique, Rev mus 11:135-140 (Aug/Sept 1930).

The nature of atonality; not a new concept.

6 Reich, Willi. Grenzgebiete der neuen Töne, Die Musik 25:120-123 (Nov 1932).

Der Weg zur Komposition in zwölf Tönen, p. 122-123.

7 Sessions, Roger. Music in crisis: some notes on recent music history, Modern music 10:63-78 (Jan/Feb 1933).

Discussion of the aesthetics of the twelve-tone system, p. 70-73. Also appears in no. 295 (Armitage, ed., p. 9-39).

8 Lissa, Zofja. Geschichtliche Vorform der Zwölftontechnik, Acta musicologica 7:15-21 (Jan/Mar 1935).

Scriabine’s music as a forerunner of 12-tone principles.

9 Gray, Cecil. Atonalism in his Predicaments: or music and the future. London, Oxford University Press, 1936, p. 168-195.

General essay discussing Schoenberg, Berg, and Webern.

10 Krenek, Ernst. Über neue Musik: sechs Verlesungen zur Einführung in die theoretischen Grundlagen. Wien, Ringbuchhandlung, 1937. 108 p. Mus.

Six lectures given by Krenek in Vienna in 1936. Partial contents: Zwölftontechnik, p. 51-70; Musik und Mathematik, p. 71-89 (discusses various types of rows, including all-interval rows). Important and lengthy review by Roger Sessions in Modern Music 15:123-128 (Jan/Feb 1938).

11 Krenek, Ernst. Music here and now. Tr. by Barthold Flees. New York, Norton [c 1939]. 306 p.

An English translation of no. 10, with added material. Tries to show that atonality and the twelve-tone technique were inevitable developments of Western music, and are the only music of the future.

12 Sackville-West, Edward. Atonalism: second thoughts, New states

man and nation [ser. 2] 23:192 (Mar 21, 1942).

A re-evaluation of the importance of atonality and the twelve-tone technique.

See no. 317 (Taylor, Noel H. Arnold Schoenberg, autumn 1944).

See no. 137 (Eschman, Karl. Changing forms in modern music, 1945).

13 Adorno, Theodor Wiesegrund. Philosophie der neuen Musik. Tübingen, J. C. B. Mohr, 1949, vii + 144 p.

Schönberg und der Fortschritt, p. 19-88.

Discusses expressionism, form, rhythm, harmony, instrumentation, counterpoint in relation to the twelve-tone technique. Cites works of Berg, Schoenberg, and Webern. No musical examples. (See no. 342.)

14 Koechlin, Charles. Quelques réflexions au sujet de la musique atonale, Music today [Journal of the I. S.C.M.] 1:26-33 (1949).

Résumé in English, p. 33-35.

Contrasts atonality, which he finds acceptable, with the twelve- tone technique, which he calls unmusical and academic.

See no. 84 (Leibowitz, René. Schoenberg and his school, 1949).

15 Open forum: variations on a theme. Music’s future: tonal or atonal? Music today [Journal of the I. S.C.M.] 1:132-152 (1949). Statements answering Why do you believe or not believe that atonal music will be the music of the future? by Schoenberg, Berg, Milhaud, Poulenc, Leibowitz, Searle, and other composers.

See no. 325 (Salazar, Adolfo. Arnold Schoenberg post-mortem, 1951).

See no. 86 (Stuckenschmidt, Hans Heinz. Neue Musik, 1951).

16 Burnier, Lucien. Reflexions sur la dodécaphonie, Schw MZ 91:14—17 (Jan 1951). Mus.

On dodecaphony as a means of composition rather than as an intellectual exercise.

17 Krenek. Ernst. Die Zwölftonmusik als Lehre, Melos 18:141-143 (May 1951).

A discussion of the literature on twelve-tone theory, particularly Eimert’s Lehrbuch der Zwölftontechnik (see no. 142).

18 Eimert, Herbert. Ist Zwölftonmusik lehrbar? Melos 18:249-251 (Sept 1951).

On the difficulties of teaching the twelve-tone technique.

19 Krüger, Walther. Zwölftonmusik und Gegenwart, Musica 5:503-505 (Dec 1951).

The twelve-tone technique as a positive phenomenon. Comments on Eimert’s Lehrbuch (see no. 142).

20 Hall, Richard. Twelve-tone music and tradition, Hinrichsen’s Musical yearbook 7:128-134 (1952). Mus.

General considerations of tonality and atonality. Dodecaphony as a primarily contrapuntal technique.

21 Schmidt-Garre, Helmut. Zwölftonmusik—Ende einer Entwicklung, nicht Neubeginn, Melos 19:10-13 (Jan 1952). Mus.

Twelve-tone technique seen as the end point of a development rather than as a new approach to music.

22 Vlad, Roman. Poetica e tecnica della dodecafonia, Rass mus 22:23-31 (Jan 1952).

Expanded version in his Modernità e tradizione (see no. 35).

On the scope of dodecaphony. Current literature on twelve-tone theory discussed.

23 Chailley, Jacques. Malentendus sur le mot ’atonalité’ et quelques autres, Vie musicale 2:8 (Feb 1952).

Toward a definition of the terms atonality, dodecaphony, and others.

See no. 221 (Köhler, Siegfried. Was ist Zwölftonmusik? Apr 1952).

24 Thomson, Virgil. Reflections, Score, no. 6:11-14 (May 1952). Reworked from several articles in his The art of judging music. New York, Knopf, 1948.

General evaluation of the twelve-tone system; its contrapuntal nature and its attractiveness for composers.

25 11 diapason: rivista di musica contemporanea, v. 3, no. 7/8 (July/Aug 1952), 38 p. [Twelve-tone issue.]

Questo numero è dedicato alle implicazioni ideali e filosofiche della poetica dodecafonica.

Partial contents: Résumés in French and English, p. 5-8; Mila, Massimo, La dodecafonia e la sua offensiva, p. 9-15; Rondi, Brunello, La dodecafonia e il messaggio dell'ordine nello spirito contemporaneo, p. 16-18; Kaefer, Johannes, Essenza della dodecafonia, p. 19-21; Vlad, Roman, Elementi metafisici nella poetica dodecafonia, p. 22-26 (reprinted in his Storia della dodecafonia; see no. 116); Magnani, Luigi, Schönberg e il simbolismo, p. 27-32.

26 Engelmann, Hans Ulrich. Dodekaphonie und Musikgeschichte, Melos 19:273-276 (Oct 1952).

Twelve-tone technique and the philosophy of music history.

See no. 339 (Adorno, Theodor Wiesengrund. Arnold Schönberg, 1953).

27 Pfrogner, Hermann. Die Zwölfordnung der Töne. Zürich, Amalthea [1953]. 280 p.

Development of the twelve-tone technique not a result of growing chromaticism, but of individual psychological concepts, such as Schoenberg’s idea of the unity of musical space, derived from Swedenborg and Balzac.

28 [Keller, Hans]. First performances and their reviews, Mus rev 14:55-59 (Feb 1953). Mus.

On the audibility of