Circumscribing the open universe
Explores the concept of open structure as it has evolved in the music of the American avant-garde throughout the 1960s and 1970s. The works of five composers are examined in detail: John Cage, Morton Feldman, Christian Wolff, Robert Ashley and Alvin Lucier.
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Acoustic Pendulums actions activity Alvin Lucier appears artist artwork Ashley's ball Bass Drums becomes behavior Benjamin Boretz Bruce Nauman C.F. Peters Cage's Charles Olson Christian Wolff clearly composer composition configuration consciousness context coordination creative process density determined distribution drumheads Drums and Acoustic duration emerges evolve experience final frequency Gesture Ibid instruments interaction intervals John Cage large dot lines listener long/high/soft loudspeakers Maurice Merleau-Ponty Merleau-Ponty Morton Feldman Music for Pure notation notion object octave oscillator particular partition pattern pendular perceiver perception performer performer's piano piece pitch plane played present pure tone Pure Waves quadrant quartet range realization reference sonority represents resonant respect result revealed Robert Ashley Robert Irwin score shape short/low/loud sine tone sine wave sonic events sonic materials sonic parameters sound specific Stefan Wolpe structure style symbols tetrachords throughout timbre traditional transformation trichord tuba twentieth century unique University Variations violin visual York