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"Serialism"
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The Cambridge companion to serialism
\"What is serialism? Defended by enthusiastic champions and decried by horrified detractors, serialism was central to twentieth-century art music, but riven, too, by inherent contradictions. The term can be a synonym for dodecaphony, Arnold Schoenberg's 'method of composing with twelve tones which are related only to one another'. It can be more expansive, describing ways of composing systematically with parameters beyond pitch -duration, dynamic, and more - and can even stand as a sort of antonym to dodecaphony: 'Schoenberg is Dead', as Pierre Boulez once insisted. Stretched to its limits, it can describe approaches where sound can be divided into discrete parameters and later recombined to generate the new, the unexpected, beginning to blur into a further antonym, post-serialism. This Companion introduces and embraces serialism in all its dimensions and contradictions, from Schoenberg and Stravinsky to Stockhausen and Babbitt, and explores its variants and legacies in Europe, the Americas and Asia\"-- Provided by publisher.
Book
Hiatus Resolution in Urhobo
The Urhobo language displays a hiatus environment created via morphological or syntactic concatenation. However, the grammar of the language requires that such an environment be repaired. This is because it violates a constraint forbidding hiatuses in the language. Languages that do not tolerate hiatus may apply one or more repair strategies to ensure deviant structures conform to constraint requirements. This study seeks to examine the hiatus resolution strategy in Urhobo and its interaction with general processes in the language. It employs data elicited from two adult L1 speakers of the language, while the analysis of the data is couched within the theory of constraint and repair strategies (TCRS). The study noted that only vowel elision is employed as a repair strategy, but it is bled by glide formation, which is a general process in the language. Elision targets V1, but it is blocked by *ØLINCON, a constraint that requires the preservation of elements that encode greater linguistic content in a string. Hence, it seems, at least superficially, that vowel elision affects any of the vowels on either side of the word boundary in Urhobo. The interaction between glide formation and vowel elision is couched in a serial implementation, such that the general process of glide formation applies first, thereby bleeding vowel elision. Thus, [+High] vowels do not necessarily survive vowel elision, as argued in previous studies, rather, glide formation as a general process bleeds an environment in which vowel elision, which is a repair strategy, can apply since it occurs first. There are two points of interest in this study; viz., it is argued that general processes can apply before repairs in the TCRS model and that such application accounts for bleeding relations between processes.
Journal Article
New Perspectives on Serialism and Parallelism in Oculomotor Control During Reading: The Multi-Constituent Unit Hypothesis
Currently there are several computational models of eye movement control that provide a good account of oculomotor behavior during reading of English and other alphabetic languages. I will provide an overview of two dominant models: E-Z Reader and SWIFT, as well as a recently proposed model: OB1-Reader. I will evaluate a critical issue of controversy among models, namely, whether words are lexically processed serially or in parallel. I will then consider reading in Chinese, a character-based, unspaced language with ambiguous word boundaries. Finally, I will evaluate the concepts of serialism and parallelism of process central to these models, and how these models might function in relation to lexical processing that is operationalized over parafoveal multi-constituent units.
Journal Article
Coordinated and local optionality in Serial Noisy Harmonic Grammar
Various implementations of Serial Noisy Harmonic Grammar (SNHG) are tested against two optional processes that exemplify different kinds of optionality. Eastern Andalusian’s vowel harmony shows coordinated optionality, in which all posttonic vowels, e.g., must harmonize (or not) together. French schwa deletion/epenthesis lacks coordination: realization of one schwa does not require realization of another. SNHG is shown to produce coordination only when it perturbs constraint weights (rather than harmony scores, e.g.). Furthermore, under a theory of gradualness in which each vowel requires multiple steps to harmonize, weights must be perturbed once and for all at the outset of a derivation, not separately on each step. This version of SNHG also accurately models local optionality in French, suggesting that it provides a general account of various kinds of optionality. The crucial factor setting it apart from other versions of SNHG is that it does not permit harmonically bounded outputs. This result is consistent with existing assessments of parallel NHG, suggesting that perturbation of weights is a robust formalism for optionality no matter the larger theoretical context.
Journal Article
Reflections on Reflections of Serialism
While serial music is a mainstay of college instruction in both music theory and music history courses, many people still struggle to find a human connection to the compositional practice. This article explores metaphorical connections between serialism and three other fields of human endeavor. With respect to language study, serial works are compared to auxiliary (i.e., invented) languages, and it becomes clear that very similar impulses underlie creativity in these fields. Serialism also relates especially well to contemporaneous developments in visual arts, in that both foreground technical processes, often prioritizing those processes over concerns of content. The burgeoning field of natural aesthetics enables us to comprehend how one can appreciate the beauty and sublimity of staggeringly complex aesthetic objects and impressions.
Journal Article
Deriving surface opacity from serial interactions: the case of Arabic epenthesis
Vowel epenthesis and stress patterns in Arabic dialects vary widely; understanding their interaction is crucial for phonological theory. This study investigates how different Arabic dialects handle medial CCC clusters and how stress assignment interacts with epenthesis. Specifically, we compare four dialects, Cairene (Egyptian), Hijazi, Lebanese and Iraqi, that exhibit distinct epenthesis placements. Using Optimality Theory with Harmonic Serialism, we analyze data from these dialects. Data were drawn from published descriptions. We model syllabification and epenthesis as ordered processes, testing hypotheses about rule ordering. We find that Cairene and Hijazi Arabic insert the epenthetic vowel after the second consonant (C1C2.VC3), whereas Lebanese and Iraqi insert it after the first consonant (C1V.C2C3). Moreover, in Cairene, the epenthetic vowel can bear stress (yielding transparent interactions), while in the other dialects it is invisible to stress (yielding opacity). Critically, these patterns emerge naturally in HS: when stress is assigned before epenthesis, the epenthetic vowel does not participate in stress, but when epenthesis precedes stress, it is treated like a regular vowel. The analysis captures the cross-dialectal facts without positing ad hoc invisibility constraints.
Journal Article
Irreducible parallelism in phonology
McCarthy (2013) asks whether there are phonological systems necessitating irreducible parallelism in grammar—systems requiring that multiple changes to the input apply in parallel, in a single derivational step. Such systems would necessitate a framework with lookahead: the ability to see from a given derivational step the results of applying multiple changes to its input. This article makes the following claims: (i) a variety of systems across languages, involving a diverse array of processes, require lookahead; (ii) these systems share the same underlying character, despite superficial differences. Our evidence comes primarily from the distribution of stress, lengthening, and epenthesis in Mohawk; reduplication and hiatus repair in Maragoli; syncope and gemination in Sino-Japanese; and assimilation and epenthesis in Lithuanian. All these systems involve what we call a COMPARISON OF PROCE-DURES. To best satisfy constraints, the grammar applies one change followed by another, unless the final result is dispreferred. In such a case, the grammar instead applies a different series of changes. We make the argument for lookahead in grammar by comparing the ability of two frameworks—Parallel Optimality Theory and Harmonic Serialism—to capture these systems. We show that Parallel OT captures them naturally, as it permits lookahead and therefore allows the grammar to compare entire procedures. HS, on the other hand, is challenged by them, as it forbids lookahead and thus does not permit the grammar to compare entire procedures unless the changes involved are specified to apply in a single derivational step. That the problem arises in connection with a diverse array of processes suggests that lookahead is not merely the reflex of a single exceptional phenomenon, but rather is a property of the grammar as a whole.
Journal Article
Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni
In the panorama of post-1945 serial composition, the music of Camillo Togni (1922–1993) stands out for its distinct expressive character (Vlad 1958). This essay examines the musical gestures that define Togni’s expressive style and illuminates how the composer generated them with the help of pluridimensional serial procedures. With evidence from the sketches, the analyses show how Togni negotiated his musical ideas with his serial templates in a dynamic process in which pluridimensional serialism opened new avenues for musical gesture he may not have envisioned otherwise. The essay argues against a distinction between a “pre-compositional” and a “compositional” stage in the creative process and instead demonstrates that Togni’s
modus operandi
entailed a continuous process of fine-tuning musical ideas. I first address questions of musical meaning and performance in Togni’s expressive aesthetics (parts 1 and 2), before delving into the compositional process to gain a better understanding of these questions (parts 3 and 4).
Journal Article
Sándor Weöres's Poetry as a Catalyst for György Ligeti's Early Development
Sándor Weöres's poetry was a life-long passion and source of inspiration for György Ligeti. This article explores the role Weöres played in Ligeti's early development as a composer by providing insight into the genesis of all of his 13 early settings of Weöres, including the unpublished choral works
Hajnal
[Dawn] and
Tél
[Winter], the incomplete song “Nagypapa leszállt a tóba” [Grandpa descended in the pond], and the unfinished oratorio “Istar pokoljárása” [Ishtar's Journey to Hell], and by making some analytical observations on them. Ligeti's early settings of Weöres were composed in three periods. The first stage in 1946–1947 was his compositional discovery of Weöres's poetry, which seems to have acted as a fuel and a challenge for him, triggering something of a musical self-liberation. His Weöres settings in 1949–1950 may be seen as a sign of solidarity with the poet effectively silenced by Communist state authorities, while in 1952–1955, Weöres texts seem to have served specifically as material for Ligeti's experimentation with static music and serialism.
Journal Article