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Darmstadt School refers to a group of composers who were associated with the Darmstadt International Summer Courses for New Music (Darmstädter Ferienkurse) from the early 1950s to the early 1960s in Darmstadt, Germany, and who shared some aesthetic attitudes. Initially, this included only Pierre Boulez, Bruno Maderna, Luigi Nono, and Karlheinz Stockhausen, but others came to be added, in various ways. The term does not refer to an educational institution.

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  • Escuela de Darmstadt (es)
  • Darmstadt School (en)
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  • Darmstadt School refers to a group of composers who were associated with the Darmstadt International Summer Courses for New Music (Darmstädter Ferienkurse) from the early 1950s to the early 1960s in Darmstadt, Germany, and who shared some aesthetic attitudes. Initially, this included only Pierre Boulez, Bruno Maderna, Luigi Nono, and Karlheinz Stockhausen, but others came to be added, in various ways. The term does not refer to an educational institution. (en)
  • La Escuela de Darmstadt (en alemán: Darmstädter Schule) es un grupo de músicos que estudió composición en la ciudad alemana de Darmstadt en los Internationalen Ferienkurse für Neue Musik y que comparten una serie de inquietudes creativas comunes. Estos compositores tenían un estilo individualizado y, tras la experimentación de los primeros años, cada uno evolucionó a su propio ritmo. Los cursos de verano realizados en Darmstadt, tuvieron lugar entre 1946 y 1955 para desarrollar una actividad musical en la Alemania de la posguerra. El objetivo principal de estos cursos era conocer las técnicas desarrolladas entre 1933 y 1945. En el primer año, el curso estuvo orientado al desarrollo de la corriente neoclásica y no fue hasta el segundo año cuando se desarrolló un gran interés por la escuela (es)
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  • http://commons.wikimedia.org/wiki/Special:FilePath/Bundesarchiv_B_145_Bild-F004566-0002,_Darmstadt,_Internationaler_Kurs_für_neue_Musik.jpg
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reference
  • Ielmini, David. 2012. "Orchestral Thoughts: Jazz Composition in Europe and America: An Interview with Composer-Director Giorgio Gaslini". In Eurojazzland: Jazz and European Sources, Dynamics, and Contexts, edited by Luca Cerchiari, Laurent Cugny, Franz Kerschbaumer, 235–252. Lebanon, New Hampshire: Northeastern University Press. . (en)
  • Schleiermacher, Steffen. 2000. [Untitled essay], in booklet for Piano Music of the Darmstadt School, vol. 1, 18–21. English translation by Susan Marie Praeder, 4–7; French translation by Sylvie Gomez, 9–16. Steffen Schleiermacher, piano. CD recording, 1 disc: stereo, digital. MDG 613 1004-2. Detmold: Musikproduktion Dabringhaus und Grimm. (en)
  • Priore, Irna. 2007. "Vestiges of Twelve-tone Practice as Compositional Process in Berio's Sequenza I for Solo Flute". In Berio's Sequenzas: Essays on Composition Performance Analysis and Analysis, edited by Janet K. Halfyard, with an introduction by David Osmond-Smith, 191–208. Aldershot: Ashgate Publishing, Ltd. . (en)
  • Boehmer, Konrad. 1987. "The Sanctification of Misapprehension into a Doctrine: Darmstadt Epigones and Xenophobes". English translation by Sonia Prescod Jokel. Key Notes 24:43–47. (en)
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