New Music
Sound examples for articles in Perspectives of New Music
All sound examples used by permission.Volume 61, Number 1
Emmanuel Amiot, "Why Sines?," 77–105 (MUSE):
Yi-Cheng Daniel Wu, "Reexamining the Infrastructure of the Minimally Divergent Contour Network: Edit Distance, Contour-Route Classes (CRs), and Contour-Route-Class Similarity (CRSIM)," 151–216 (MUSE):
Volume 58, Number 2
Joshua Banks Mailman, "Babbitt's Canonical Form Revisited: Codes and Metaphors for Epistemology," 215–245 (MUSE):
- Example 1 audio (a)
- Example 1 audio (b)
- Example 2 audio (a.1)
- Example 2 audio (a.2)
- Example 2 audio (b)
- Example 2 video (a-b-c)
- Example 2 video (a-b.1)
- Example 2 video (a-b.2)
Volume 57, Numbers 1 & 2
John Roeder, "Logic-Programming Models of Music: A Semiotic Evaluation," 375–402 (JSTOR):
Volume 56, Number 2
The concert of music written and published in this issue, in honor of Charles Wuorinen, may be heard for free on our YouTube page: youtube.com/c/perspectivesofnewmusic.
Volume 56, Number 1
Ethan Braun, "Me, Myself, and I: Aesthetics and Self-Presentation in Stockhausen’s Trans," 35–86 (JSTOR):
- Example 1
- Example 4
- Example 5
- Example 6
- Example 7
- Example 8 Part 1
- Example 8 Part 2
- Example 8 Part 3
- Example 9
- Example 10
Kyle Quarles and Daniel Sieburth, "All-Trichordal Saturated M-Chain Cycles," 171–190 (JSTOR):
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
- Example 1: Section 18, mm. 113–118
- Example 4: Section 1, mm. 1–16
- Example 5: Section 17, mm. 103–112
- Example 7-9: Sections 34–36, mm. 202–215
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):
- Georgios Theocharous plays Michael Finnissy's Autumnall
- Georgios Theocharous plays Michael Finnissy's Autumnall (VIDEO)
Volume 51, Number 1
Paul Hembree and Dustin Donahue, "A Spatial Interpretation of Edgard Varèse's Ionisation Using Binaural Audio," 256–261 (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.- Geregel, by Dewa Ketut Alit
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, celloFrom 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):
- Sound Example AA: First half of introduction to Composition for Synthesizer
- Sound Example BB: First melody twice
- Sound Example CC: First chord
- Sound Example DD: Fourth melodic subsection
- Sound Example EE: Entire introduction to Composition for Synthesizer
- Sound Example FF: Refrain of Part 1
- Sound Example GG: Beginning of Part 2
- Sound Example HH: Ensembles excerpt 1
- Sound Example II: Ensembles excerpt 2
- Sound Example JJ: Opening of Reflections
- Sound Example KK: Excerpt from middle of Part 2 of Reflections
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).
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