Serialism was a guiding principle for Karlheinz Stockhausen. Whereas composers such as Anton Webern and Arnold Schoenberg had confined the serial principle to pitch, Stockhausen, beginning with his composition Kreuzspiel (1951), set about extending serialism to other musical elements. Thus, instrumentation, pitch register and intensity, melodic form, and duration are deployed in musical pieces that assume an almost geometric level of organization.
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