Bruno Maderna’s Serial Arrays
2007; Society for Music Theory; Volume: 13; Issue: 1 Linguagem: Inglês
10.30535/mto.13.1.2
ISSN1067-3040
Autores Tópico(s)Diverse Musicological Studies
ResumoA central figure at the Darmstadt Summer Courses for New Music in the 1950s, Bruno Maderna (1920–73) pioneered a type of serialism that was as deeply rooted in the contrapuntal tradition of the past, as it was committed to the exploration of new avenues in musical expression. This article investigates the serial arrays that lie at the core of his works written between 1951 and 1956. The constructive principles behind Maderna’s tone rows are explained, as are the ways in which he subjected them to order permutations that he represented graphically in matrices, tabulating order positions and pitch-class space. The article further examines how Maderna’s matrices served as the source for his rhythmic language. With evidence from the sketch materials and other sources, the analyses show how Maderna designed his serial arrays in response to what he considered to have been the shortcomings of the twelve-tone technique.
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