The music of James Tenney: Volume 1 Contexts and paradigms
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Urbana
University of Illinois Press
[2021]
|
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xvi, 319 Seiten Illustrationen, Notenbeispiele 26 cm |
| ISBN: | 9780252043673 |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents Preface xi Conventions and Abbreviations 1. Introduction xv 1 1.1. A Summary Chronology 3 1.2. Aesthetic and Methodological Bases: Music in Sound 10 2. Early Works and Influences (1934-59) 2.1. Stan Brakhage and Interim (1952) 18 19 2.2. Manhattan and Meeting Carolee Schneemann 21 2.3. Lionel Nowak, Carl Ruggles, and Charles Ives’s Concord Sonata 23 2.4. Seeds (1956/1961) 25 3. Tape Music and “Meta/Hodos” (1959-61) 31 3.1. Lej aren Hiller and Harry Partch 31 3.2. The University of Illinois Electronic Music Studio 3.3. Collage #1 (“Blue Suede”) (1961) 3.4. “Meta/Hodos” (1961) 41 34 32
4. Computer Music and Ergodicity (1961-64) 48 4.1. Edgard Varèse, D’Arcy Thompson, and “Growth to Form” 4.2. John Cage, Variety, and Ergodicity 4.3. Max Mathews and MUSIC 54 59 4.4. The Acoustic Correlates of Timbre 4.5. Algorithmic Composition 63 4.6. Analog #1 (Noise Study) (1961) 4.7. Phases (1963) 62 68 76 5. Performance and the Social (1964-68) 5.1. Downtown in the 1960s 83 83 5.2. Tone Roads and an American Experimental Tradition 86 5.3. Fluxus and Friends 89 5.4. Carolee Schneemann, Antonin Artaud, Wilhelm Reich 93 5.5. Choreogram (1964) 97 5.6. Fabric for Che (1967) 101 6. Process and Continuity (1969-71) 6.1. Gradual Processes ПО 112 6.2. For Ann (rising) (1969) 118 6.3. Postal Pieces (1965-71) 124 7. Interlude: Harmonic Theory 135 7.1. The Meaning of Harmony 137 7.2. The Harmonic Series 140 7.3. Interval Tolerance and “The Language of Ratios” 7.4. A History of Consonance and Dissonance 147 7.5. Roughness and Beating (CDC-5) 148 7.6. Toneness and Harmonicity (CDC-2) 7.7. Harmonic Space (CDC-1) 149 155 7.8. Harmonic Measures and Their Applications 165 144
8. Canons and the Harmonic Series (1972-79) 8.1. The Harmonic-Series Music 8.2. Clang (1972) 169 170 172 8.3. Spectral CANONfor CONLON Nancarrow (1974) 8.4. Harmonium #1 (1976) 183 8.5. Three Indigenous Songs (1979) 9. Harmonic Spaces (1980-85) 9.2. Harmonium #3 (1980) 189 193 9.1. The Harmonic-Space Music 9.3. Bridge (1984) 176 193 195 199 9.4. Koanfor String Quartet (1984) 216 10. Transition and Tradition (1986-94) 10.1. Critical Band (1988) 10.2. Flocking (1993) 224 225 231 11. Spectra and Diaphony (1994-2006) 237 11.1. Dissonant Counterpoint and Statistical Feedback 11.2. In a Large,. .. (1994-95) 11.3. Diaphonie Study (1997) 11.4. Arbor Vitae (2006) 237 241 246 250 12. A Tradition of Experimentation 259 Appendix A. Acoustics, Sensation, and Logarithmic Models Appendix B. Spectrographic Analysis Notes 271 References Index 315 301 265 261
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| adam_txt |
Contents Preface xi Conventions and Abbreviations 1. Introduction xv 1 1.1. A Summary Chronology 3 1.2. Aesthetic and Methodological Bases: Music in Sound 10 2. Early Works and Influences (1934-59) 2.1. Stan Brakhage and Interim (1952) 18 19 2.2. Manhattan and Meeting Carolee Schneemann 21 2.3. Lionel Nowak, Carl Ruggles, and Charles Ives’s Concord Sonata 23 2.4. Seeds (1956/1961) 25 3. Tape Music and “Meta/Hodos” (1959-61) 31 3.1. Lej aren Hiller and Harry Partch 31 3.2. The University of Illinois Electronic Music Studio 3.3. Collage #1 (“Blue Suede”) (1961) 3.4. “Meta/Hodos” (1961) 41 34 32
4. Computer Music and Ergodicity (1961-64) 48 4.1. Edgard Varèse, D’Arcy Thompson, and “Growth to Form” 4.2. John Cage, Variety, and Ergodicity 4.3. Max Mathews and MUSIC 54 59 4.4. The Acoustic Correlates of Timbre 4.5. Algorithmic Composition 63 4.6. Analog #1 (Noise Study) (1961) 4.7. Phases (1963) 62 68 76 5. Performance and the Social (1964-68) 5.1. Downtown in the 1960s 83 83 5.2. Tone Roads and an American Experimental Tradition 86 5.3. Fluxus and Friends 89 5.4. Carolee Schneemann, Antonin Artaud, Wilhelm Reich 93 5.5. Choreogram (1964) 97 5.6. Fabric for Che (1967) 101 6. Process and Continuity (1969-71) 6.1. Gradual Processes ПО 112 6.2. For Ann (rising) (1969) 118 6.3. Postal Pieces (1965-71) 124 7. Interlude: Harmonic Theory 135 7.1. The Meaning of Harmony 137 7.2. The Harmonic Series 140 7.3. Interval Tolerance and “The Language of Ratios” 7.4. A History of Consonance and Dissonance 147 7.5. Roughness and Beating (CDC-5) 148 7.6. Toneness and Harmonicity (CDC-2) 7.7. Harmonic Space (CDC-1) 149 155 7.8. Harmonic Measures and Their Applications 165 144
8. Canons and the Harmonic Series (1972-79) 8.1. The Harmonic-Series Music 8.2. Clang (1972) 169 170 172 8.3. Spectral CANONfor CONLON Nancarrow (1974) 8.4. Harmonium #1 (1976) 183 8.5. Three Indigenous Songs (1979) 9. Harmonic Spaces (1980-85) 9.2. Harmonium #3 (1980) 189 193 9.1. The Harmonic-Space Music 9.3. Bridge (1984) 176 193 195 199 9.4. Koanfor String Quartet (1984) 216 10. Transition and Tradition (1986-94) 10.1. Critical Band (1988) 10.2. Flocking (1993) 224 225 231 11. Spectra and Diaphony (1994-2006) 237 11.1. Dissonant Counterpoint and Statistical Feedback 11.2. In a Large,. . (1994-95) 11.3. Diaphonie Study (1997) 11.4. Arbor Vitae (2006) 237 241 246 250 12. A Tradition of Experimentation 259 Appendix A. Acoustics, Sensation, and Logarithmic Models Appendix B. Spectrographic Analysis Notes 271 References Index 315 301 265 261 |
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| spelling | Wannamaker, Robert 1967- Verfasser (DE-588)1044805625 aut The music of James Tenney Volume 1 Contexts and paradigms Robert Wannamaker Urbana University of Illinois Press [2021] xvi, 319 Seiten Illustrationen, Notenbeispiele 26 cm txt rdacontent n rdamedia nc rdacarrier (DE-604)BV047712193 1 Erscheint auch als Online-Ausgabe 978-0-252-05256-9 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033095935&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title_short | The music of James Tenney |
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