Perspectives of New Music articles from June 1998

Perspectives of New Music archives from June 1998

A SEVENTIETH-BIRTHDAY FESTSCHRIFT FOR KARLHEINZ STOCKHAUSEN (PART TWO) (GUEST EDITOR'S INTRODUCTION).
June 22, 1998... Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.) --Walt Whitman (Song of Myself, 51) THROUGH THE 1960s and into the 1970s, Stockhausen's compositions developed an unsettling...

METAMORPHOSES OF INVENTION.
June 22, 1998... HOW CAN WE bring together the successive orientations, the forays carried out, starting from strict serialism's writing-down of every detail, up to the almost complete revocation of this in the experiments with intuitive music, then to its...

THREE POEMS.
June 22, 1998... SETTING VERSES TO MUSIC is a common process. The opposite is more unusual. Listening to music always raises images, forms, movements, vibratory reactions, and words in my mind--as if an inner alchemy were transforming the musical vibrations...

LEAP OF FAITH: A PERSONAL BIOGRAPHY OF KARLHEINZ STOCKHAUSEN'S PROZESSION.
June 22, 1998... ON 1 MAY 1967 I had just arrived in Cologne from Berkeley, California, to take up my new position as Stockhausen's personal assistant. We had met in his composition seminar at the UC Davis campus. It was a heady, doubly significant time for me:...

INORI: MICROCOSM/MACROCOSM RELATIONSHIPS AND A LOGIC OF PERCEPTION.
June 22, 1998... ANALYSIS OF KARLHEINZ STOCKHAUSEN'S works is always a delicate matter. Indeed, often at the center of the great changes of course in music since the post-war period, he has been as active in artistic creation as in his theorizing. The composer...

STOCKHAUSEN'S SECRET THEATER: UNFINISHED PROJECTS FROM THE SIXTIES AND EARLY SEVENTIES.
June 22, 1998... IN THE LATE NINETIES, to think "Stockhausen" means to think "opera"; more specifically, to think of Licht, with its seven operas named after the seven days of the week. This epic venture came as a shock to the New Music World when Stockhausen...

THE INTERVAL ANGLE: A SIMILARITY MEASURE FOR PITCH-CLASS SETS.
June 22, 1998... PART I: INTRODUCTION AND DEFINITION ABSTRACT OVER THE PAST THIRTY YEARS, many measures have been proposed to gauge the similarity (or, mutatis mutandis, the difference) in sound of pitch-class sets. We propose here that a very simple...

THE "CONTINUOUS LINE" AND STRUCTURAL AND SEMANTIC TEXT - PAINTING IN BERNARD RANDS'S CANTI D'AMOR.
June 22, 1998... COMMENTATORS ON THE MUSIC of Bernard Rands have spoken of a "continuous line" or "continuous thread," the development of which makes a section or whole piece coherent. [1] In Rands's choral song cycle Canti d'Amor, based on selections from...

INNER-VIEWS.
June 22, 1998... A CONVERSATION BETWEEN STUART SAUNDERS SMITH AND TOM GOLDSTEIN [*] STUART SAUNDERS SMITE is one of the most prolific composers of percussion music in history. Since 1970, Smith has written twenty-six works exclusively for percussion, and...

COMPOSITIONAL MODELS IN XENAKIS'S ELECTROACOUSTIC MUSIC.
June 22, 1998... IN IANNIS XENAKIS'S OUTPUT, electroacoustic music plays a role that is quantitatively marginal but quite meaningful in its content. In the following observations, my aim is to demonstrate that highly relevant aspects of Xenakis's contribution...

ERRATA.
June 22, 1998... The Editors of Volume 35, no. 2, sincerely apologize to readers and authors for any inconveniences caused by errors which appeared in the journal. Corrections for Volume 35, no. 2, are as follows: In Milton Babbitt's "Response," the...