New Directions in Music"Directions in the musical avant-garde in the past fifty years seem as numerous and diverse as the composers and their works. Yet these directions have historical motives and aesthetic values, traceable and uniquely observable due to their singularly radical nature. Building on the success of previous editions, the Seventh Edition of New Directions in Music explores the history, philosophy, composers, and works of the avant-garde since the late 1940s, emphasizing works departing radically from tradition. Musicians and musical scholars of all levels will benefit from Cope's clear presentation, organizing a seemingly idiosyncratic field into a logical succession of ideas and developments."--Page 4 de la couverture. |
From inside the book
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Page 46
... instru- ment as an entire body with which I could make music . So , this way I found out what works . For example , striking the strings with the hand - of course , it's a much better effect if you use it with cello or double bass ...
... instru- ment as an entire body with which I could make music . So , this way I found out what works . For example , striking the strings with the hand - of course , it's a much better effect if you use it with cello or double bass ...
Page 50
... instru- ment being merely a vehicle . Therefore it seems logical that any sound a performer can make may be used in a musical composition . ( Turetzky 1969b , p . 169 ) Strings Four major categories of new string techniques cur- rently ...
... instru- ment being merely a vehicle . Therefore it seems logical that any sound a performer can make may be used in a musical composition . ( Turetzky 1969b , p . 169 ) Strings Four major categories of new string techniques cur- rently ...
Page 63
... instru- ments ) ; Max Neuhaus ( sound installations ) ; Jim Pomeroy ( music boxes ) ; Susan Rawcliffe ( wind instru- ments ) ; Tom Recchion ( folk instruments from found objects ) ; Prent Rodgers ( electroacoustical instru- ments ) ...
... instru- ments ) ; Max Neuhaus ( sound installations ) ; Jim Pomeroy ( music boxes ) ; Susan Rawcliffe ( wind instru- ments ) ; Tom Recchion ( folk instruments from found objects ) ; Prent Rodgers ( electroacoustical instru- ments ) ...
Common terms and phrases
acoustical algorithmic artist audience avant-garde Berio Boulez C. F. Peters Cage's cello Center chapter chords clarinet clusters complex composers composition concert Cope Copyright create cresc David David Tudor developed Donald Erb DURATION dynamics Edgard Varèse electroacoustic music electronic music ensemble example exploration Felder Figure Foss George Crumb groups György Ligeti harmonic Iannis Xenakis improvisation indeterminacy indeterminate instru instruments interval involves John Cage Krzysztof Penderecki Ligeti Luciano Berio mance material melody ment MIDI modulation movement notation notes octave opera orchestra P.O. Box Pauline Oliveros Penderecki percussion performance piano piece Pierre Boulez pitch classes play posers produced recording Reich rhythm rhythmic score serial shows solo sonic sound spatial Stockhausen string style Symphony synthesizers tape techniques textures timbre tion tonal tones traditional twelve-tone Universal Edition Varèse vectoral analysis violin visual voice Webern write Xenakis