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During the 1950s and 60s, Stravinsky learned, mastered, and significantly transformed a musical language that was, for him, entirely new—the language of twelve-tone serialism. As the abundant compositional sketches from this period in the Paul Sacher Foundation make clear, this process was not always an easy one for Stravinsky. Indeed, the sketches show him groping for solutions to basic compositional problems, including particularly the problem of creating meaningful vertical harmonies from the essentially linear nature of the twelve-tone system.



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