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。


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ブーレーズ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。






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