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  1. 7 de mar. de 2023 · Summary. Luigi Nono was one the first and foremost Italian composers to develop multiple serialism. Stimulated by the teachings and friendship of Bruno Maderna, in the years 1950–1 he started composing with an extended twelve-tone technique that involved complex rhythmic permutations.

  2. en.wikipedia.org › wiki › SerialismSerialism - Wikipedia

    Serialism. Six-element row of rhythmic values used in Variazioni canoniche by Luigi Nono. [1] In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements.

  3. Luigi Nono was one the first and foremost Italian composers to develop multiple serialism. Stimulated by the teachings and the friendship of Bruno Maderna, in the years 1950-1951 he started composing with an extended 12-tone technique that involved complex rhythmic permutations.

  4. en.wikipedia.org › wiki › Luigi_NonoLuigi Nono - Wikipedia

    Luigi Nono (Italian pronunciation: [luˈiːdʒi ˈnɔːno]; 29 January 1924 – 8 May 1990) was an Italian avant-garde composer of classical music. ... Luigi Nono and the Development of Serial Technique, in The Cambridge Companion to Serialism, edited by Martid Iddon. Cambridge: Cambridge University Press. Feneyrou, ...

  5. 978-1-108-49252-2 — The Cambridge Companion to Serialism Edited by Martin Iddon Frontmatter ... 10 Luigi Nono and the Development of Serial Technique angela ida de benedictis and veniero rizzardi [154] ix. Cambridge University Press & Assessment 978-1-108-49252-2 — The Cambridge Companion to Serialism

  6. 3 The encounter is recorded in Luigi Nono, “Un’ autobiografica dell’autore racco-ntata da Enzo Restagno (1987),” in Luigi Nono: ... of music, ranging from Gregorian chant to twelve-tone serialism. It is 4 Paul Hindemith, The Craft of Musical Composition, vol. 1, trans. Arthur Mendel

  7. many analytical facets of this fascinating example of integral serialism by taking into account important recent research on music by Maderna and Nono as well as insights gained from my own study of the sketches. It is hoped that some of the myths surrounding II canto sospeso, particularly in Britain, may thus be dis-