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Perspectives of New Music最新文献

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Preserving the Fragment: Franco Donatoni's Late Chamber Music 保存残片:佛朗哥·多纳托尼的晚期室内乐
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2008.0012
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引用次数: 0
Of Art and Artifice: Style and Technique in the Music of Morris Rosenzweig 艺术与技巧:莫里斯·罗森茨威格音乐的风格与技巧
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2005.0007
Brian Hulse
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引用次数: 0
Techniques for Thwarting Hegemony: Anticommunication and Gesture-Inhibiting Musical Material as Compositional Resource in the Music of Herbert Brün 对抗霸权的技巧:赫伯特·布尔<e:2>音乐中作为创作资源的音乐素材的反交流与手势抑制
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2008.0005
Jeffrey Kowalkowski
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引用次数: 0
Wreath Products in Transformational Music Theory 转型音乐理论中的花环产品
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2009.0018
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引用次数: 3
Why We Refuse to Listen 为什么我们拒绝倾听
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2006.0027
Michael Kowalski
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引用次数: 0
[Photograph]: Joël-François Durand: Palouse 7, Ink-Jet Print; 14.5 by 12.7 Inches; © 2004 J.F. Durand [照片]:Joël-François Durand: Palouse 7, Ink-Jet Print;14.5 × 12.7英寸;©2004 J.F. Durand
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2006.0030
Joël-François Durand
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引用次数: 0
Form as an Outgrowth of Timbre and Rhythm: Wesley Fuller's "Sherds of Five" 音色与节奏的衍生形式:韦斯利·富勒的《五之碎片》
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2005.0003
Stephen f. Lilly
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引用次数: 0
Interview with Adachi Tomomi 安达智美采访
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2008.0011
Adachi Tomomi, S. Gleason
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引用次数: 0
Modular Music 模块化的音乐
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.3840/08004130
J. Saunders
{"title":"Modular Music","authors":"J. Saunders","doi":"10.3840/08004130","DOIUrl":"https://doi.org/10.3840/08004130","url":null,"abstract":"For me, every attempt to bring a work to a close after a certain time becomes more and more forced and ridiculous. I am looking for ways of renouncing the composition of single works and—if possible—of working only forwards, and of working so “openly” that everything can now be included in the task in hand, at once transforming and being transformed by it; and the questing of others for autonomous works just seems to me so much clamor and vapor. —Karlheinz Stockhausen1","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129707230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Timespan Hierarchies and Posttonal Pitch Structure: A Composer's Strategies 时间跨度、层次和位置音高结构:作曲家的策略
Perspectives of New Music Pub Date : 2021-06-09 DOI: 10.1353/pnm.2005.0001
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引用次数: 1
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