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In page Serialism:

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The serialization of rhythm, dynamics, and other elements of music was partly fostered by the work of Olivier Messiaen and his analysis students, including Karel Goeyvaerts and Boulez, in postwar Paris. Messiaen first used a chromatic rhythm scale in his Vingt Regards sur l'enfant-Jésus (1944), but he did not employ a rhythmic series until 1946–48, in the seventh movement, "Turangalîla II", of his Turangalîla-Symphonie.[2] The first examples of such integral serialism are Babbitt's Three Compositions for Piano (1947), Composition for Four Instruments (1948), and Composition for Twelve Instruments (1948).[3][4] He worked independently of the Europeans.[citation needed]