{"title":"On Listening","authors":"","doi":"10.1353/pnm.2010.0005","DOIUrl":"https://doi.org/10.1353/pnm.2010.0005","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"8 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":"123755158","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}
{"title":"More MOF and Mallalieu-related Rows","authors":"Caleb Morgan, Michael Davis","doi":"10.1353/pnm.2009.0002","DOIUrl":"https://doi.org/10.1353/pnm.2009.0002","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"47 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":"122453624","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}
In the summer of 1968, Steve Reich had four of his most important early works behind him (It's Gonna Rain (1965), Come Out (1966), Piano Phase (1967), and Violin Phase (1967)), and he found himself “trying to clarify for myself what I was doing.” This reflection resulted in the essay/manifesto “Music as a Gradual Process,” which has become perhaps the most iconic description of process in music. “I am interested in perceptible processes” writes Reich. “I want to be able to hear the process happening throughout the sounding music.” Reich lists several features of process music, but I want to draw our attention to the idea that the “compositional process and [the] sounding music. . . are one and the same thing,” and that this identity between process and music creates a different kind of listening experience than does traditional music:
{"title":"Process as Means and Ends in Minimalist and Postminimalist Music","authors":"Galen H. Brown","doi":"10.1353/pnm.2010.0000","DOIUrl":"https://doi.org/10.1353/pnm.2010.0000","url":null,"abstract":"In the summer of 1968, Steve Reich had four of his most important early works behind him (It's Gonna Rain (1965), Come Out (1966), Piano Phase (1967), and Violin Phase (1967)), and he found himself “trying to clarify for myself what I was doing.” This reflection resulted in the essay/manifesto “Music as a Gradual Process,” which has become perhaps the most iconic description of process in music. “I am interested in perceptible processes” writes Reich. “I want to be able to hear the process happening throughout the sounding music.” Reich lists several features of process music, but I want to draw our attention to the idea that the “compositional process and [the] sounding music. . . are one and the same thing,” and that this identity between process and music creates a different kind of listening experience than does traditional music:","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"74 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":"124431481","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}
{"title":"On Being a Musical Thinker, or Being about Ben","authors":"","doi":"10.1353/pnm.2006.0028","DOIUrl":"https://doi.org/10.1353/pnm.2006.0028","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"1 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":"128749115","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}
{"title":"Benjamin Boretz and Perspectives of New Music","authors":"J. Rahn","doi":"10.1353/pnm.2006.0032","DOIUrl":"https://doi.org/10.1353/pnm.2006.0032","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"8 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":"115179109","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}
{"title":"\"What is about, is also of, also is\": Words, Musical Organization, and Boretz's Language, as a Music, \"Thesis\"","authors":"Dora A. Hanninen","doi":"10.1353/pnm.2006.0004","DOIUrl":"https://doi.org/10.1353/pnm.2006.0004","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"120 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":"121023271","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}
{"title":"[Photograph]: Robert Yoder: Turner (2003), Painted Wood; 32 by 60 by 2 Inches; Howard House Contemporary Art","authors":"R. Yoder","doi":"10.1353/pnm.2006.0016","DOIUrl":"https://doi.org/10.1353/pnm.2006.0016","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"44 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":"130320644","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}
{"title":"(Re)composition at the Edges of Radical Relativism","authors":"S. Gleason","doi":"10.1353/pnm.2006.0047","DOIUrl":"https://doi.org/10.1353/pnm.2006.0047","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"24 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":"131043654","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}
A study seeks to capture Benjamin Boretz's piano work O in another translation, or express it in another form that embraces the notion of multiple experiences expressed simultaneously. The translations of O are all built around an analysis of the phrasing of the original piano work, which is partitioned into twenty-two phrases and presented as a poem, a schema for spatial sound diffusion, and as an architectural form.
{"title":"Three Translations of O: A Few Thoughts and Explanations","authors":"M. Fowler","doi":"10.1353/pnm.2006.0011","DOIUrl":"https://doi.org/10.1353/pnm.2006.0011","url":null,"abstract":"A study seeks to capture Benjamin Boretz's piano work O in another translation, or express it in another form that embraces the notion of multiple experiences expressed simultaneously. The translations of O are all built around an analysis of the phrasing of the original piano work, which is partitioned into twenty-two phrases and presented as a poem, a schema for spatial sound diffusion, and as an architectural form.","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"33 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":"114339688","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}
{"title":"Musical Modernism in the Thought of \"Mille Plateaux,\" and Its Twofold Politics","authors":"M. Scherzinger","doi":"10.1353/pnm.2008.0009","DOIUrl":"https://doi.org/10.1353/pnm.2008.0009","url":null,"abstract":"","PeriodicalId":102986,"journal":{"name":"Perspectives of New Music","volume":"58 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":"116252972","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}
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