“Serialism” is often used to designate the twelve-tone technique, in which case the term “total serialism” or “integral serialism” refers to the technique in\u00a0whichall<\/em> the elements are treated serially. \u00a0In his writings on the\u00a0subject0, however, Krenek never uses “serialism” for the twelve-tone technique; he uses it only where others would use “total serialism” or “integral serialism.” \u00a0The author has chosen to follow his example. \u00a0In this account, therefore, “serialism” always refers to the later, more elaborate technique.<\/p><\/blockquote>\n Stewart, J. L. (1991).\u00a0Ernst Krenek: The man and his music<\/i>. Berkeley: University of California Press. (269)<\/p>\n This is a huge problem with discussions of serialism. \u00a0Many people tend to use serialism interchangeably with the twelve-tone technique, which is quite silly (and Stewart did it right here!). \u00a0There are serial works that do not necessarily arrange their pitches through the twelve-tone technique. \u00a0Not only that, but there are serial pieces that do not necessarily worry about arranging order to the pitches in a progressive fashion! \u00a0Because of this, one could theoretically write a totally serial work without ever using the twelve-tone technique.<\/p>\n
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