| The thought of pitch serialism,introduced by Arnold Sch?nberg,have made a significant influence in the 20th century.It also arouses great controversy among people.Some of them are in favor of it,while others object to it.These kinds of totally different assessment have a close relationship with not only the musical concept of composer,but also variously social systems and economical development all over the world.The thesis attaches importance to two aspects.On the one hand,it figures out the process of how the Soviet Union and western countries treat the thought of pitch serialism and presents its changes in terms of comparisons among that in their different periods.Given the socially political background,ideological cognition and other factors,it also analyses the reasons of changes.Secondly,it concentrates on the cases that several typical composers individually recreated the pitch serialism in the process.Then it puts these different creations into one perspective in order to deepen its previous cognition.This thesis is divided into five chapters.The first chapter reveals the situation of the thought of pitch serialism in the Soviet Union in Stalin's times and Khrushchev's times.The second chapter shows that the situation of the thought of pitch serialism in western countries.The third chapter separately narrates that the acceptable strategies of the thought of pitch serialism from Stravinsky,Bartók and Copland,companied with the analysis of cases.The forth chapter illustrates the way Babbitt and Boulez show to the thought of pitch serialism for the sake of proving its strength and expansion.The last chapter analyses the three conclusions from rethinking“typical trends”,then finding the rational cause of its appearance and the universality and validity of the“critically-inherited”strategy from these five composers and imbalance of rational value and sensual value in serial music. |
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