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Sound examples for articles in Perspectives of New Music

All sound examples used by permission.

Volume 54, Number 1

Joshua Banks Mailman, "Cybernetic Phenomenology of Music, Embodied Speculative Realism, and Aesthetics-Driven Techné for Spontaneous Audio-Visual Expression," 5–95 (JSTOR):

Volume 52, Number 3

Erik DeLuca, "On Composing Place: An Analysis of “Clusters on a quadrilateral grid” by John Luther Adams," 5–68 (JSTOR):

Volume 52, Number 2

Daphne Leong, "Time's 'Suchness' in Robert Morris's Clear Sounds," 195–225 (JSTOR):

Daphne Leong, Piano

Joshua B. Mailman, "Trajectory, Material, Process, and Flow in Robert Morris's String Quartet Arc," 249–283 (JSTOR):

Wayne Slawson, "To Know Robert Morris's MA," 359–372 (JSTOR):

Volume 52, Number 1

Georgios Theocharous, "Not too Violent: The Fall of Notation in Michael Finnissy's Autumnall for Solo Piano," 4–27 (JSTOR):

Volume 45, Number 1

David Bessell, "Formant Synthesis, Granular Synthesis, and Waveshaping in Halo, Bells and Voices, Bessell," 236–252 (JSTOR):

Volume 43, Number 1

Paul Nauert, "Timespan Hierarchies and Posttonal Pitch Structure: A Composer's Strategies," 34–53 (JSTOR):

Volume 42, Number 2

Julio Estrada, "Emanation of the Voice," 88–120 (JSTOR):

Volume 40, Number 2

Andrew Kohn, "Wolpe and the Poets of Black Mountain," 134–154 (JSTOR):

Volume 40, Number 1

Wayne Vitale, "Balinese Kebyar Music Breaks the Five-Tone Barrier: New Composition for Seven-Tone Gamelan," 5–69 (JSTOR).

From the Vital Records CD, "Çudamani: The Seven-Tone Gamelan Orchestra from the Village of Pengosekan, Bali" (Vital Records 440). Used by permission.

Note: this file is a 17.3MB mp3 file.

Volume 39, Number 1

Julio Estrada, "The Radiance of Iannis Xenakis (1922–2001)," trans. Brandon Derfler, 215–230 (JSTOR):

Volume 39, Number 2

Julia Werntz, "Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's 'Forum: Microtonality Today,'": 159–210. (JSTOR):

  • Example 2
    Béla Bartók, Sonata for Solo Violin, Movement IV.
    Erica Kiesewetter, violin.

    From Pitch for the International Microtonalist Vol. 1, no. 3 (Winter 1988–89), © 1988 American Festival of Microtonal Music. Used with permission by Johnny Reinhard.

  • Example 3a
  • Example 3b
  • Example 4a
  • Example 4b
    Alois Hába, String Quartet No. 12.

    With kind approval by SUPRAPHON, Prague and the year of first publishing (P) 1964.

  • Example 4c

    Ivan Wyshnegradsky, Composition pour quatuor a cordes, op. 43.

    Soldier String Quartet:
    Laura Seaton and David Soldier, violin
    Drew Tretick, viola
    Mary Wooten, cello

    From Pitch for the International Microtonalist Vol. 1, no. 3 (Winter 1988–89). Copyright © 1988 American Festival of Microtonal Music. Used with permission by Johnny Reinhard.

  • Example 6
  • Example 7a
  • Example 8
  • Example 10a
  • Example 10d

Volume 35, Number 2

Robert Morris, "Listening to Milton Babbitt's Electronic Music: The Medium and the Message," 85–99. (JSTOR):

Volume 3, Number 2

Stefan Bauer-Mengelberg and Melvin Ferentz, "On Eleven-Interval Twelve-Tone Rows," 93–103. (JSTOR):

  • List of All-Interval Rows: Please note that the list as originally published in Perspectives of New Music is no longer available. The list presented here, with the kind permission of co-author Robert Morris, was originally published in Morris, Robert, and Daniel Starr, "The Structure of All-Interval Series," The Journal of Music Theory 8/2:364–89 (1974).
Last update: 2017 July 05
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