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The concept and its purpose were first articulated in print by Pierre Boulez, in his 1954 article "Recherches maintenant": "Nevertheless, despite an excess of arithmetic, we had achieved a certain 'punctuality' of sound—by which I mean, literally, the intersection of various functional possibilities
102:
mean that all dynamic degrees are fixed; one point will be linked directly to another on the chosen scale, without any intervening transition or gesture. Line-dynamics, on the other hand, involve the transitions from one given amplitude to another: crescendo, decrescendo and their combinations. This
201:
and his contemporaries were being transformed into music". In painting, pointillism (also termed
Neoimpressionism) is a late 19th-century method in which small "points" (dots or strokes) of pure color are deposited on the canvas; seen from a distance, they blend and give the effect of a different
107:"The almost analytical focus on individual events, and then the transition between them, brings a stillness to this music far removed from the gestural quality of other pieces". From a purely technical point of view, the term "punctual" has the sense of "a point of intersection of parameters" in
233:... Seurat painted little dots: dots upon dots, in various colours and sizes, so that a tree would shimmer. ... In terms of technique there is no connection between musical impressionism and pictorial impressionism. That's why I am using the term
725:
Sabbe, Herman. 1981. "Die
Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goevaerts". In:
253:, evoking Seurat's painting technique, had been applied to music in this opposite sense of a "mosaic-like method of construction, an infinite accumulation of small and insignificant inorganic details", with reference to
840:
Moelants, Dirk (1 March 2000). "Statistical
Analysis of Written and Performed Music. A Study of Compositional Principles and Problems of Coordination and Expression in 'Punctual' Serial Music".
213:
I still remember how, in Paris, I threw around the expression "punctual music" as a term for my KREUZSPIEL, SPIEL for
Orchestra, SCHLAGQUARTETT, and so forth. Pierre Boulez corrected me, "
78:
music, as opposed to linear, or group-formed, or mass-formed music", bolding in the source). This was accomplished by assigning to each note in a composition values drawn from scales of
563:. Veröffentlichungen der Walcker-Stiftung für orgelwissenschaftliche Forschung 5, edited by Hans Heinrich Eggebrecht, 162–187. Stuttgart: Musikwissenschaftliche Verlags-Gesellschaft.
35:
202:
color and heightened luminosity. The style, a development of impressionist color theories, was originated by the French painters
Georges Seurat and
921:
183:
74:
conceptions coming to bear". In simpler terms: "music that consists of separately formed particles—however complexly these may be composed—
1207:
26:
193:, however, argues that "Stockhausen never strictly speaking composed punctually". Eimert foresaw problems "because of the common term of "
561:
Zur
Terminologie der Musik des 20. Jahrhunderts. Bericht uber das 2. Colloquium der Walcker-Stiftung 9.–10.3.1972 in Freiburg/Breisgau
103:
second category can be defined as a dynamic glissando, comparable to glissandi of pitch and of tempi (accelerando, ritardando).
94:, resulting in a "stronger individualizing of separate tones". Another important factor was maintaining discrete values in all
1253:
824:
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134:'s "Mode de valeurs et d'intensités" (1949). However, it is most commonly associated with serial compositions such as
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Sabbe, Herman (1994). "Goeyvaerts and the
Beginnings of 'Punctual' Serialism and Electronic Music".
556:
602:, part 1 (Sachteil), vol. 8 (Quer–Swi). Kassel & New York: Bärenreiter; Stuttgart: Metzler.
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prevalent in Europe between 1949 and 1955 "whose structures are predominantly effected from
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in a given point. What had brought this 'punctual' style about? The justified rejection of
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33:'s unordered series for pitch, duration, dynamics, and articulation from the pre-serial
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811:. Cambridge Introductions to Music. New York: Cambridge University Press.
654:
978:
958:
580:
221:." He replied: "What's that, then? That's not French at all, the word is
203:
194:
20:
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Serial Music, Serial
Aesthetics: Compositional Theory in Post-war Europe
543:, with an introduction by Robert Piencikowski. Oxford: Clarendon Press.
1186:
1089:
892:
873:
Revue belge de
Musicologie / Belgisch Tijdschrift voor Muziekwetenschap
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169:
130:(who also used the expression "star music") to describe pieces such as
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Musik-Konzepte 19: Karlheinz
Stockhausen: ... wie die Zeit verging ...
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963:
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259:
197:" in French painting. It would wrongly be assumed that paintings by
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Stockhausen, Karlheinz. 1998. "Es geht aufwärts". In: Stockhausen,
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The confusion in French was immediate, as Stockhausen relates:
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is "punctile music", but it has not achieved wide currency.)
176:, as well as some early compositions of Stockhausen, such as
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432:
321:
631:. Cambridge, U.K.; New York: Cambridge University Press.
229:, or else people might think we are bringing up musical
929:
471:
297:
1216:
789:
Six Lectures from the Stockhausen Courses KĂĽrten 2002
720:. Lincoln & London: University of Nebraska Press.
530:. Cambridge, Massachusetts: Harvard University Press.
369:
483:
420:
396:
345:
459:
357:
333:
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408:
309:
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856:10.1076/0929-8215(200003)29:01;1-P;FT037
673:(1989). "Exorcism and Epiphany: Luciano Berio's
779:, vol. 9: 391–512. Kürten: Stockhausen-Verlag.
639:(1922). "Arnold Schönberg. A Critical Study".
915:
748:Stockhausen on Music: Lectures and Interviews
98:of the music. Punctual dynamics, for example
1208:List of dodecaphonic and serial compositions
598:. Second, newly compiled edition, edited by
118:, the term was originally coined in German (
774:
742:
579:, edited by Lothar Knessel, 90–97. Vienna:
441:
390:
327:
114:Retrospectively attributed to the music of
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922:
908:
555:
508:Funk & Wagnalls New World Encyclopedia
375:
249:In fact, as early as 1922 the French word
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754:. London & New York: Marion Boyars.
573:"Aspekte des Seriellen bei Stockhausen."
303:
25:
809:The Cambridge Introduction to Serialism
718:A History of Western Musical Aesthetics
715:
587:
477:
339:
1241:
738:, 5–96. Munich: Edition Text + Kritik.
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514:
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215:Pointilliste, la musique pointilliste!
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595:Die Musik in Geschichte und Gegenwart
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363:
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537:Stocktakings from an Apprenticeship
13:
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43:adapted as an ordered row for his
14:
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158:for thirteen instruments (1951),
1226:
1202:
1011:
498:
272:(An alternative translation for
559:. 1974. "Punktuelle Musik". In
70:to tone, without superordinate
36:Mode de valeurs et d'intensités
1:
843:Journal of New Music Research
506:Anon. (2018). "Pointillism".
291:
1254:20th-century classical music
1132:All-interval twelve-tone row
227:Non, il faut faire attention
39:, upper division only—which
7:
10:
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174:Polifonica–Monodia–Ritmica
18:
1200:
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1058:
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1009:
941:
777:Texte zur Musik 1984–1991
680:Perspectives of New Music
557:Eggebrecht, Hans Heinrich
19:Not to be confused with
716:Lippman, Edward. 1992.
588:Frisius, Rudolf. 1998.
54:(commonly also called "
1137:All-trichord hexachord
1085:Second Viennese School
791:. Stockhausen-Verlag.
744:Stockhausen, Karlheinz
535:Boulez, Pierre. 1991.
528:Richard Rodney Bennett
247:
105:
92:attack characteristics
48:
931:Twelve-tone technique
520:Boulez on Music Today
245:are still seen today.
211:
150:Sonata for Two Pianos
124:Karlheinz Stockhausen
100:
29:
1080:Josef Matthias Hauer
1045:Retrograde inversion
243:musique pointilliste
225:." So I explained: "
1162:Formula composition
732:Heinz-Klaus Metzger
655:10.1093/ml/III.1.73
642:Music & Letters
627:Grant, M. J. 2001.
266:Die glĂĽckliche Hand
64:musical composition
1249:Musical techniques
278:musique ponctuelle
239:musique ponctuelle
235:musique ponctuelle
49:
23:– being "on time".
1214:
1213:
1167:Modernism (music)
1095:Arnold Schoenberg
825:978-0-521-68200-8
817:978-0-521-86341-4
620:978-3-476-41008-5
608:978-3-7618-1109-2
590:"Serielle Musik."
393:, pp. 34–35.
255:Arnold Schoenberg
144:, book 1 (1952),
62:") is a style of
16:Musical technique
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1231:
1230:
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1125:Related articles
1107:Charles Wuorinen
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949:Combinatoriality
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805:Whittall, Arnold
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539:, translated by
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442:Stockhausen 1998
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391:Stockhausen 1989
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343:
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328:Stockhausen 1998
325:
319:
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274:punktuelle Musik
192:
146:Karel Goeyvaerts
132:Olivier Messiaen
120:punktuelle Musik
31:Olivier Messiaen
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984:Cross partition
954:Complementation
937:
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885:10.2307/3687128
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834:Further reading
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600:Ludwig Finscher
577:Wien Modern '89
569:Essl, Karlheinz
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219:Non, ponctuelle
217:" and I said, "
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687:(2): 252–268.
671:Hicks, Michael
667:
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565:
553:
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524:Susan Bradshaw
516:Boulez, Pierre
512:
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482:
480:, p. 417.
470:
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446:
444:, p. 451.
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541:Stephen Walsh
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499:Cited sources
492:, p. 16.
491:
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467:
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317:
312:
305:
304:Whittall 2008
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160:Luciano Berio
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136:Pierre Boulez
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41:Pierre Boulez
38:
37:
32:
28:
22:
1171:
1112:
1100:Anton Webern
1022:Permutations
942:Fundamentals
876:
872:
850:(1): 37–60.
847:
841:
808:
788:
776:
747:
736:Rainer Riehn
730:, edited by
727:
717:
684:
678:
674:
649:(1): 73–89.
646:
640:
628:
593:
576:
560:
536:
519:
507:
485:
478:Lippman 1992
473:
461:
449:
422:
417:, p. 3.
410:
398:
371:
359:
347:
340:Frisius 1998
335:
323:
311:
299:
282:
277:
273:
271:
264:
258:
251:pointillisme
250:
248:
242:
238:
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226:
223:pointilliste
222:
218:
214:
212:
208:
184:Herman Sabbe
177:
173:
163:
153:
139:
119:
116:Anton Webern
113:
109:serial music
106:
101:
75:
59:
55:
51:
50:
45:Structures I
44:
34:
1172:Punctualism
1157:Equivalence
819:(hardback)
637:Gray, Cecil
612:Bärenreiter
581:Wien Modern
490:Boulez 1991
352:Boulez 1971
286:thematicism
257:'s operas,
204:Paul Signac
195:pointillism
187: [
60:point music
56:pointillism
52:Punctualism
21:Punctuality
1243:Categories
1187:Time point
1182:Set theory
1090:Alban Berg
1035:Retrograde
974:Invariance
959:Derivation
709:1298106150
622:(Metzler).
454:Anon. 2018
427:Sabbe 1981
403:Hicks 1989
364:Grant 2001
292:References
179:Kreuzspiel
170:Luigi Nono
141:Structures
96:parameters
1142:Atonality
1062:composers
1040:Inversion
1030:Prime row
996:Aggregate
979:Partition
964:Hexachord
935:serialism
879:: 55–94.
762:(cloth),
466:Gray 1922
415:Toop 2005
316:Essl 1989
260:Erwartung
1177:Semitone
991:Tone row
864:62159496
807:. 2008.
787:. 2005.
746:. 1989.
705:ProQuest
571:. 1989.
518:. 1971.
237:." Both
155:Nummer 2
88:dynamics
84:duration
76:punctual
1060:Notable
893:3687128
47:
1219:Portal
891:
862:
827:(pbk).
823:
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699:
663:726830
661:
618:
606:
547:
199:Seurat
168:, and
122:), by
90:, and
72:formal
58:" or "
1192:Trope
889:JSTOR
860:S2CID
697:JSTOR
675:Nones
659:JSTOR
191:]
165:Nones
80:pitch
1114:more
1001:List
933:and
821:ISBN
813:ISBN
793:ISBN
764:ISBN
756:ISBN
734:and
616:ISBN
604:ISBN
592:In:
575:In:
545:ISBN
526:and
263:and
241:and
152:and
126:and
68:tone
1117:...
1111:...
881:doi
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689:doi
677:".
651:doi
288:".
172:'s
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858:.
848:29
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614:)
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