Dictionary of Music - Birding America

service 375published in 1923), Ernst Křenek, Luigi Dallapiccola,Wolfgang Fortner, Milton Babbitt, Nikos Skalkottas,Stefan Wolpe, Meyer Kupferman, and others—butSchoenberg’s two most important disciples wereAlban Berg and Anton Webern. Berg used the twelvetonesystem more freely than Schoenberg, often combiningit with elements of tonality. Webern, on theother hand, paved the way for applying the idea of aseries to elements other than pitch—to rhythm, tonecolor, and dynamics. (This is sometimes called totalserial music or total serialism.) It was only afterWebern’s premature death in 1945 that his influencewas felt among young musicians, particularly PierreBoulez, and also Karlheinz Stockhausen, LucianoBerio, Henri Pousseur, Bruno Maderna, Luigi Nono,and Igor Stravinsky (the last beginning in the late1950s). In the early 1960s several Polish composers—WitoldLutoslawski, Krzysztof Penderecki,Grazyna Bacewicz—and the Hungarian GyörgyLigeti produced works in which the themes were notmelodies but timbres, densities, or contrastingmotion. Others who have written serial music or haveused serial techniques in combination with othermethods include Jean Barraqué, Hans Werner Henze,René Leibowitz, Elizabeth Lutyens, HumphreySearle, Peter Maxwell Davies, Karl-Birger Blomdahl,Olivier Messiaen, Gunther Schuller, Frank Martin,Wallingford Riegger, Aaron Copland, Ross LeeFinney, Charles Wuorinen, and Roger Sessions. (Seealso the chart with TWENTIETH-CENTURY MUSIC.)seriesSee under SERIAL MUSIC.serious music Also, classical music. A term usedto distinguish popular music and folk music frommusic by composers with formal training who striveto create works of artistic significance rather than forprimarily commercial success. Unfortunately, thisterm implies that popular and folk music are unimportantor not serious, an arbitrary judgment at best.serpent (sûr′pənt). A wind instrument invented inthe late sixteenth century and played for more thantwo hundred years. Named for its snake-like shape, itconsisted of a leather-covered wooden tube with aconical bore (cone-shaped inside), about eight feetlong and bent into an S-shape to make it more manageable.It had a cup-shaped mouthpiece mounted ona long brass crook, six finger holes, and a range ofabout one and one-half octaves. Generally similar tothe CORNETT, it is often called the bass member of thecornett family. The serpent is thought to have beeninvented about 1590 in France, where it was usedprincipally for church music. Later its use spread toEngland, Germany, and other countries. Toward theend of the eighteenth century bandmasters realizedthe serpent’s usefulness in wind ensembles, especiallyin military bands, and about this time it was providedwith keys to help players with fingering. The serpentin the accompanying illustration has four keys.fig. 213 p/u from p. 392Another version of serpent, known as the basshorn or Russian bassoon, is basically a serpent inthe shape of a bassoon; it was popular in the first halfof the nineteenth century, mainly in military bands.service In Anglican churches (Church of England,Episcopal Church of the United States, etc.), themusical part of the worship service, aside fromhymns and anthems. Most of the individual items ofthe service, whose texts are found in the Book ofCommon Prayer, still bear Latin names, since theywere originally derived from the Roman Catholicrites, but are sung in English. Each service has itsown particular items. The most important kinds ofservice are Morning Prayer, Evening Prayer, andCommunion, the last corresponding to the RomanCatholic Mass. The Morning Service (that is, theservice music for Morning Prayer) consists of theVenite exultemus (“Come, let us rejoice”), Te Deum,and Benedictus (or Jubilate); the Evening Serviceconsists of the Magnificat (or Cantate domino) and