序列主义；序列音乐(serialism)
在音乐创作中使用一组序列音调作为基础。十二音音乐与序列主义这两个词虽然不完全同义，但常常可以互换使用。1916～1923年荀白克创造了序列法，同时豪尔（J. M. Hauer, 1883～1959）也提出了另外一种序列法。对於荀白克来说，此法代表了19世纪末和20世纪初半音应用成长的高峰。荀白克关心的是抹去他认为已经陈旧了的所谓调性系统，但是他也意识到，即使那些想超越这个系统的作曲家们所谱写的音乐中，还经常出现调性系统。荀白克最初的方法是规定（在若干其他要求中），在使用完其他11个半音音阶之前不能重复任何一个音。序列主义这个词的涵义比十二音音乐更宽，可以使用少於12个音。1940年代末，出现了「全序列主义」的概念，除了十二音外，还试图将旋律、节拍、音区以及乐器等其他因素都编到有序的组合中去。
English version：
serialism
Use of an ordered set of pitches as the basis of a musical composition. The terms twelve-tone music and serialism, though not entirely synonymous, are often used interchangeably. The serial method was worked out by A. Schoenberg in the years 1916-23, though another serial method was being devised simultaneously by Josef Matthias Hauer (1883-1959). To Schoenberg, it represented the culmination of the growth of chromaticism in the late 19th and early 20th century. Concerned to erase what he regarded as the system of tonality, which he regarded as outworn but which he realized would frequently assert itself even in the music of composers who desired to transcend it, Schoenberg's original method stipulated (among several other requirements) that no note could be repeated before all 11 other notes of the chromatic scale had been used. Serialism, a broader term than twelve-tone music, can apply to use of fewer than 12 tones. “Total serialism,” a concept that arose in the late 1940s, attempts to organize not only the twelve pitches but such other elements as rhythm, dynamics, register, and instrumentation into ordered sets as well.