Playing Games with the Matrix

Abstract

American composer Ursula Mamlok (1923-2016) started her life in the United States in 1941 as a refugee of Nazi Germany, determined to receive mentorship for her compositional practice. After an introduction to music of the Second Viennese School in 1944, Mamlok began incorporating serialism into her own music. She considered composing to be a sort of game, a practice that was further deepened by her playful use of the twelve-tone matrix. Mamlok’s compositions are far from the cold and unapproachable music of serialist “masters” of the Second Viennese School; instead, Mamlok dances around the matrix with a musical style that is captivating to both performers and audiences. 

This paper explores Ursula Mamlok’s unique application of serialism through From My Garden III for Solo Viola (1983). The work is carefully crafted as a maze through the twelve-tone matrix, featuring highly structured yet playful use of serialism in both pitch and rhythm. I argue that despite this serial approach, the work has a unique sense of freedom and ease that is not usually found in twelve-tone music. Leveraging the instrument’s sonorous tone, violists will enjoy exploring Mamlok’s creative open string use. Additionally, pitch centers and playful qualities of the piece provide an approachable and pleasant listening experience, a stark contrast to the cumbersome listening experience most often associated with serialism. A thorough understanding of From My Garden and its creative use of the matrix gives performers and audiences a new perspective on serial music that is welcoming and enjoyable.