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Six-element of rhythmic values used in Variazioni canoniche by (, 165) In, serialism is a method or technique of that uses a series of values to manipulate different. Serialism began primarily with 's, though some of his contemporaries were also working to establish serialism as a form of thinking. Twelve-tone technique orders the twelve notes of the, forming a or series and providing a unifying basis for a composition's,, structural progressions, and. Other types of serialism also work with, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called '), such as,, and. The idea of serialism is also applied in various ways in the,, and (, 5, 12, 74;, passim), and the musical concept has also been adopted in literature (, 81;, 217–19;, 37, 64, 81, 95). Integral serialism or total serialism is the use of series for aspects such as duration, dynamics, and register as well as pitch (, 273).

Other terms, used especially in Europe to distinguish post–World War II serial music from twelve-tone music and its American extensions, are general serialism and multiple serialism (, 5–6). Composers such as Arnold Schoenberg,,,,,,,, and used serial techniques of one sort or another in most of their music. Other composers such as,,,,,,,,,,,, and used serialism only for some of their compositions or only for some sections of pieces, as did some composers such as and. Hidden Magic Deluxe Ver.1.17 + Crack. Olivier Messiaen's unordered series for pitch, duration, dynamics, and articulation from the pre-serial, upper division only—which Pierre Boulez adapted as an ordered row for his (, 178) Several of the composers associated with Darmstadt, notably Karlheinz Stockhausen, Karel Goeyvaerts, and Henri Pousseur developed a form of serialism that initially rejected the recurring rows characteristic of twelve-tone technique, in order to eradicate any lingering traces of (, 92). Instead of a recurring, referential row, 'each musical component is subjected to control by a series of numerical proportions' (, 3). In Europe, the style of some serial as well as non-serial music of the early 1950s emphasized the determination of all parameters for each note independently, often resulting in widely spaced, isolated 'points' of sound, an effect called first in German ' Musik' ('pointist' or 'punctual music'), then in French 'musique ponctuelle', but quickly confused with ' (German 'pointillistische', French 'pointilliste') the familiar term associated with the densely packed dots in paintings of, despite the fact that the conception was at the opposite extreme (, 451). Pieces were structured by closed sets of proportions, a method closely related to certain works from the and movements in design and architecture called ' by some writers (;;; ), specifically the paintings of,, Bart van Leck, Georg van Tongerloo, Richard Paul Lohse, and, who had been seeking to “avoid repetition and symmetry on all structural levels and working with a limited number of elements” (, 54).