In the music history of the 20th century a serialism has been connected with cardinal change of musical-esthetic
paradigms. Designating “zero hour” of musical cultures, it created a special esthetics, which resolutely broke
off with traditional musical thinking and proclaimed anti-subjectivity and “devaluation of anthropocentrism”.
The article describes the causes of serialism. The author marks out the key events and the facts for his
formation, which include the philosophical and esthetic promotion of the ideas of the Second Viennese School
during the post-war period caused by Leibovitz’s and Adorno’s works; analytical seminars of Messiaen,
which stimulated young composers on experiments in the field of a rhythm; the foundation of the Darmstadt
International Summer Courses for New Music; the Webern cult. The author refers reaction to consequences
of World War II, which have induced the younger generation to begin all over again to the deep reasons,
from “zero point”, drawing the project of “the brave new world” on tabula rasa.
Abstract