Webern's gradual innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his generalization of imitative techniques such as canon and fugue; and his inclination toward athematicism, abstraction, and lyricism variously informed and oriented European and Canadian, typically serial or avant-garde composers (e.g., Messiaen, Boulez, Stockhausen, Luigi Nono, Pousseur, Ligeti, Sylvano Bussotti, Bruno Maderna, Bernd Alois Zimmermann, Barbara Pentland). Eimert and Stockhausen devoted a special issue of die Reihe to Webern's in 1955. UE published his lectures in 1960.
Webern's gradual innovations in schematic organization of pitch rhythm register timbre dynamics articulation and melodic contour; his generalization of imitative techniques such as canon and fugue; and his inclination toward athematicism abstraction and lyricism variously informed and oriented European and Canadian typically serial or avant-garde composers (eg Messiaen Boulez Stockhausen Luigi Nono Pousseur Ligeti Sylvano Bussotti Bruno Maderna Bernd Alois Zimmermann Barbara Pentland) Eimert and Stockhausen devoted a special issue of die Reihe to Webern's in 1955 UE published his lectures in 1960