{'fraction_non_alphanumeric': 0.023076923076923078, 'fraction_numerical': 0.0, 'mean_word_length': 4.961832061068702, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Music after Zero Hour

The development of the Darmstadt Ferienkurse is set in the context of post-war political and economic circumstances in Germany. The process of de-Nazification, set in operation by the occupying allied forces, is described, especially in relation to the cultural programmes instituted in the American zone. The emerging identity of a Darmstadt School of composers is discussed and the nature of their compositional practice is scrutinised. In particular the use of serial techniques, allusions to popular music, and open-form in the music of Boulez, Maderna, Nono and Stockhausen is examined, with further reference made to the work of B. A. Zimmermann. It is suggested that aspects of this music have a direct correlation with contemporary political events.