New Musical Resources
Since its original publication in 1930, Henry Cowell's New Musical Resources has become recognised as one of the few seminal technical studies to be written by a twentieth-century composer. In 1971, Virgil Thomson hailed it as 'a classic'. Cowell aimed to 'point out the influence the overtone series has exerted on music throughout its history, how many musical materials of all ages are related to it, and how ... a large palette of musical materials can be assembled'. In this respect Cowell was anticipating many of the ideas to be realized in electronic music by Stockhausen and others. For this 1996 edition, David Nicholls has provided an explanatory essay and annotations to Cowell's text. The essay traces the sources for the book and attempts to place Cowell's theories in the broader context of musical modernism.
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Metre and Time Combinations
Scales of Rhythm
Notes on the text
Henry Cowells New Musical Resources
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accented note acoustical applied Arnold Schoenberg base beats Charles Seeger chart chromatic cluster chords combination complex composers composition contains contrapuntal corresponding Cowell's dissonant counterpoint dotted notes dynamics eighth-notes element equal equivalent Experimental Music expression familiar fifth Folder four fourth fractions fundamental tone G major given groups half-note Henry Cowell higher overtones instruments interval lowest tone major second material measure melody ment method metre metrical ratio metronome minor third moving clusters music examples musical metre Musical Resources ninth chords notation Note Series octave overtone relationships overtone series partials pitch played polychord polyharmony possible practice principle produce quarter-notes Quartet reason reference result rhythm rhythmic rubrics Schonberg series of overtones seventh chord simple simultaneous single tone sixth sliding tones sound string succession suggested tempi theory third-note time-values tion tone of scale tone-clusters tone-quality triad unaccented notes undertone series units whole note