As was the case at the beginning of the baroque era the composers
who started serialism initially relied on words for structuring their
work.  Independent instrumental compositions evolved later.  (A similar
observation holds for the Polish avant-garde of the 1960's--Penderecki's
early extensive works were all vocal.)

Joel's reminder that not all of the Schoenberg Serenade is serial brings
up another point, that serial and non-serial techniques can exist within
the same work.  Stravinsky showed this quite convincingly in his Agon and
Canticum Sacrum--only a hard-core theory specialist who cares would notice
the transitions between serial and non-serial music.

Aaron J. Rabushka
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