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| Genre/Form: | History |
|---|---|
| Document Type: | Book |
| All Authors / Contributors: |
James Tenney; Lauren Pratt; Rob Wannamaker; Michael Winter; Larry Polansky |
| ISBN: | 9780252038723 025203872X 9780252084379 0252084373 9780252096679 0252096673 |
| OCLC Number: | 904541430 |
| Description: | xxxi, 467 pages : illustrations, music ; 24 cm |
| Contents: | Introduction / Larry Polansky -- On the development of the structural potentialities of rhythm, dynamics, and timbre in the early nontonal music of Arnold Schoenberg (1959) -- Meta [does not equal] Hodos (1961) -- Computer music experiences, 1961-1964 (1964) -- On the physical correlates of timbre (1965) -- Excerpts from "An experimental investigation of timbre -- the violin" (1966) -- Form in twentieth-century music (1969-70) -- META Meta [does not equal] Hodos (1975) -- The chronological development of Carl Ruggles's melodic style (1977) -- Hierarchical temporal gestalt perception in music: a metric space model (with Larry Polansky) (1978-80) -- Introduction to "Contributions toward a quantitative theory of harmony" (1979) -- The structure of harmonic series aggregates (1979) -- John Cage and the theory of harmony (1983) -- Reflections after Bridge (1984) -- Review of Music as heard by Thomas Clifton (1985) -- About Changes: sixty-four studies for six harps (1987) -- Darmstadt lecture (1990) -- The several dimensions of pitch (1993/2003) -- On "crystal growth" in harmonic space (1993/2003) -- About Dispason (1996) -- Appendix 1. Pre-Meta [does not equal] Hodos (1959) -- Appendix 2. On musical parameters (ca. 1960-1961) -- Appendix 3. Excerpt from A history of 'consonance' and 'dissonance' (1988). |
| Other Titles: | Writings in music theory |
| Responsibility: | James Tenney ; edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. |
Abstract:
Reviews
Publisher Synopsis
"This collection of essays propels Tenney studies into the next critical stage, making publicly accessible the writings of one of the most compelling musical thinkers in the American contemporary music scene. In their well-selected diversity, these writings are a marvelous expression of the breadth of Tenney's aesthetic and theoretical thinking; surely this book will serve as an essential cornerstone to scholars for decades to come."--David W. Patterson, contributing editor of John Cage: Music, Philosophy, and Intention, 1933-1950 "If you want to encounter one of the major thinkers of twentieth century music, James Tenney's writing is worth getting to know, and if you're at all interested in the history of music technology and its development, his writing is essential."--Sound Bytes Magazine "This new book is without doubt a landmark publication for those involved in Tenney scholarship,. . . . This collection of writings provides a superbly revealing insight into Tenney's work, and the couching of prominent texts alongside much less well-known ones helps to enrich the understanding of him and his work." --Tempo "A testament to avant-garde musical thought from the 1960s until the advent of postmodernism in the 1980s, and it also raises questions that are in many regards perennial. Recommended."--Choice "The intellectual and creative path chronicled here is inspiring, particularly as Tenney's questions about the experience of music-making remain deeply relevant today."--Computer Music Journal "Enables us to hear anew Tenney's deep musical resonances, and offers us the gift of Tenney's insights about music."--Notes "Tenney's writings provide an invaluable model for artists interested in connecting aesthetics to scientific understandings of human perception and the material world."--Chris Brown, composer and co-director of the Center for Contemporary Music at Mills College Read more...
