Presents a valuable collection of detailed analyses of historically important electroacoustic works from the mid-1950s through the late 1980s.
Foreword by Jean-Claude Risset Introduction by Thomas Licata Karlheinz Stockhausen: Gesang der Jünglinge (1955/1956) "Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of Gesang der Jünglinge" by Pascal Decroupet and Elena Ungeheuer Iannis Xenakis: Diamorphoses (1957) "Diamorphoses by Iannis Xenakis" by Thomas DeLio Gottfried Michael Koenig: Essay (1957/1958) "Koenig--Sound Composition--Essay" by Konrad Boehmer Luigi Nono: Omaggio a Emilio Vedova (1960) "Luigi Nono's Omaggio a Emilio Vedova" by Thomas Licata Karlheinz Stockhausen: Telemusik (1966) "Serial Composition, Serial Form, and Process in Karlheinz Stockhausen's Telemusik" by Jerome Kohl Otto Laske: Terpsichore (1980) "Subscore Manipulation as a Tool for Composition and Sonic Design" by Otto Laske Jean-Claude Risset: Contours (1982) "A Story of Emergence and Dissolution: Analytical Sketches of Jean-Claude Risset's Contours" by Agostino Di Scipio James Daschow: Sequence Symbols (1984) Looking Into Sequence Symbols" by James Daschow Joji Yuasa: A Study in White (1987) "Oppositional Dialectics in Joji Yuasa's The Sea Darkens" by Kristian Twombly Index
Thomas Licata is a composer and theorist who holds graduate degrees in composition and music theory from the University of Maryland and Brandeis University.
"Of late, Greenwood Press has been publishing a number of
interesting books....including the present and very compelling
volume on electroacoustic music....The book is aimed at an audience
of both professionals and students, with some essays accessible by
undergraduates and others requiring a highly technical
background....All of the essays in this volume are quite
valuable....[A]nalysts, composers and instructors have a powerful
new set of essays to work with as the slow work continues towards
developing a critical literature about electroacoustic
music."-Perspectives of New Music
"The essays in this book reflect a broad range of analytical
approaches. This methodological heterogenity, and the solidness of
each and every one of the essays, may very well come to distinguish
this book as a milestone in scholarly research on contemporary
music...[I]t is refreshing to come across a book that so nicely
balances the language and technical expectations of music analysis
with the composition-theoretical imperatives of the music
considered. I would hope that this volume energizes further efforts
along these lines."-Computer Music Journal
?[a] welcome addition to electroacoustic serial studies.?-Journal
of the Music Library Association
?Of late, Greenwood Press has been publishing a number of
interesting books....including the present and very compelling
volume on electroacoustic music....The book is aimed at an audience
of both professionals and students, with some essays accessible by
undergraduates and others requiring a highly technical
background....All of the essays in this volume are quite
valuable....[A]nalysts, composers and instructors have a powerful
new set of essays to work with as the slow work continues towards
developing a critical literature about electroacoustic
music.?-Perspectives of New Music
?The essays in this book reflect a broad range of analytical
approaches. This methodological heterogenity, and the solidness of
each and every one of the essays, may very well come to distinguish
this book as a milestone in scholarly research on contemporary
music...[I]t is refreshing to come across a book that so nicely
balances the language and technical expectations of music analysis
with the composition-theoretical imperatives of the music
considered. I would hope that this volume energizes further efforts
along these lines.?-Computer Music Journal
"Ýa¨ welcome addition to electroacoustic serial studies."-Journal
of the Music Library Association
"[a] welcome addition to electroacoustic serial studies."-Journal
of the Music Library Association
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