Bruno Maderna's music stands out among that of his Darmstadt colleagues for the manner in which it combines the strict mathematical procedures of serial music with a considerable degree of fantasy and lyricism. He was widely acknowledged as one of the world's foremost conductors of twentieth-century music, and a particularly engaging and approachable personality in the rather alienating world of total serialism and the 'dodecaphonic police'. Ausstrahlung (1971), a work for female voice, orchestra, tape-recording, solo flute and solo oboe provides a good example of how Maderna manages to combine a brand of lyrical serialism, aleatory, and an 'open work' aesthetics. The vocal part adopts more the style of the vocal writing employed by Dallapiccola, where the 'Germanic' serial method is imbued with a singing lyricism, and tonal devices are even sometimes used within the framework of the dodecaphonic system. Hence, Ausstrahlung 's brand of vocal serialism is more lyrical than the purely academic variety.