Perspectives of New Music articles from June 1994

Perspectives of New Music archives from June 1994

'Rothko Chapel' and Rothko's chapel. (Mark Rothko, Morton Feldman)
June 22, 1994... IN 1964 MARK ROTHKO agreed to provide paintings for a catholic chapel being planned in Houston.(1) The founders of the project, John and Dominique de Menil, chose Rothko in part because of his well-known insistence on the spiritual character of...

Cage and beyond: an annotated interview with Christian Wolff. (John Cage) (Interview)
June 22, 1994... HOW WOULD YOU DESCRIBE the musical "scene" in New York during the early 1950s? In what way did you, Cage, and your colleagues fit--or not fit--into this scene? There was a lot of reaction going on. I think the feeling in the late forties...

Applying psychoacoustics in composition: "harmonic" progressions of "nonharmonic" sonorities.
June 22, 1994... INTRODUCTION DURING THE LAST TWO DECADES, a psychoacoustic theory of pitch, consonance, and harmony has been developed by Ernst Terhardt and his colleagues at the Institute of Electroacoustics, Technical University of Munich....

Unheard-of: music as performance and the reception of the new. (Forum on Feminist Music Theory)
June 22, 1994... AS A COMPOSER ACTIVE in the contemporary music community in the United States as both a creator and producer of new works, I am both challenged and discouraged by the inability of the existing concert environment to engage audiences as what I...

Response to Linda Dusman. (in this journal, p.130) (Forum on Feminist Music Theory)
June 22, 1994... LINDA DUSMAN RAISES some important issues in "Unheard-of: Music as Performance and the Reception of the New" (in this issue). In particular, her discussions of work by Judith Butler and Peggy Phelan bring provocative new insights to bear on...

'Cassandra's Dream Song': a literary feminist perspective. (Forum on Feminist Music Theory)
June 22, 1994... INTRODUCTION COLLABORATION IS THE ESENCE of the composer/performer relationship. The composition of a piece of acoustic music may be the work of a single mind, but the realization of the piece necessitates an alliance with at least one...

A conversation about feminism and music. (Forum on Feminist Music Theory) (Interview)
June 22, 1994... INTRODUCTION THE COMPOSER Pauline Oliveros has often written about music; her writings from 1963 to 1980 are collected in a book called Software for People.(1) Like her music, the writings are diverse and often unconventional. Some...

Writing music culture for Calamity Jane, water, and other dangerous women (with minimal apologies to Clifford and Lakoff). (response to Eric Gans in Perspectives of New Music, vol. 32, no. 1, Winter 1994, p. 86) (Forum on Feminist Music Theory)
June 22, 1994... IN PUZZLING OVER Eric Gans's "Remarks on Originary Feminism" (Perspectives of New Music 32, no. 1 (Winter 1994): 86--88), I reviewed some of my confusions with my son, who teaches electronic media. He pointed out that when one party in an...

Stockhausen's paradigm: a survey of his theories. (Karlheinz Stockhausen)
June 22, 1994... INTRODUCTION USUALLY, WHEN Stockhausen's theories are discussed, they are considered as part of his composing. They have never been the subject of systematic research, independently from their historical context. They have been the...

A theory of complexity to constrain the approximation of arbitrary sequences of timepoints.
June 22, 1994... INTRODUCTION IN 1991, I wrote a music-composition utility program called TIMEPACK, consisting of several routines designed for generating and transforming time-domain structures.(1) The program in its original form performs well; I have...

The completion of John Cage's 'Freeman Etudes.'
June 22, 1994... INTRODUCTION JOHN CAGE BEGAN COMPOSING his thirty-two Freeman Etudes for violin in 1977. The first seventeen were completed in 1980. These pieces, as with all of Cage's etudes, were deliberately made as difficult as possible for the...

Seeking centers. (Francois-Bernard Mache)
June 22, 1994... NEAR THE END of his explorative essay, Music, Myth and Nature, Francois-Bernard Mache sums up his thesis this way: It is important for a composer to listen to the world of sounds and to perceive in its form-models--encounters between the...

Music, Myth, and Nature: or The Dolphins of Arion.
June 22, 1994... NEAR THE END of his explorative essay, Music, Myth and Nature, Francois-Bernard Mache sums up his thesis this way: It is important for a composer to listen to the world of sounds and to perceive in its form-models--encounters between the...

European journal, 1993.
June 22, 1994... FOR MUCH OF the summer and fall of 1993, I lived on the other side of the Atlantic, nominally based at Cambridge University but in a position to visit music festivals on the Continent as well. During the course of my six months abroad, then, I...

June in Rochester; Feminist Theory and Music II: a continuing dialogue 17-20 June 1993.
June 22, 1994... HAVING HEARD a great deal about the first Feminist Theory and Music conference--its freshness and daring, the feeling that people were addressing issues they'd wanted to for a long time (but for a number of reasons hadn't managed to), the...

The Fourteenth Annual New Music and Art Festival at BGSU: new music on its own terms. (Bowling Green State University, Ohio)
June 22, 1994... I CONTEMPORARY MUSIC IS A FACT of everyday life at Bowling Green State University. Be it astonishing or understandable, gratifying or deplorable, such is not the case in most conservatories and schools of music in America, nor in most...