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fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Saunders, J
Publisher: Miguel Abreu Gallery
Languages: English
Types: Part of book or chapter of book
Subjects: ML

Classified by OpenAIRE into

ACM Ref: ComputingMethodologies_DOCUMENTANDTEXTPROCESSING
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 13. Paul Fournel and Jean-Pierre Énard, 'The Theatre Tree: a combinatory play', OULIPO: A Primer of Potential Literature, ed. Warren F. Motte Jr., 2nd Edn (Normal: Dalkey Archive Press, 1998) 159-62
    • 14. Ibid., 160
    • 15. Earle Brown, Folio (New York: Associated Music Publishers, 1961), Prefatory Note.
    • 16. Karlheinz Stockhausen, Klavierstück XI (Wien: Universal Edition, 1957), performing directions.
    • 17. The performer decides on six different tempi from very slow to very fast which should then be related to the six tempo markings in the score as they occur.
    • 18. Ibid.
    • 19. Earle Brown, 25 Pages (Toronto: Universal Edition, 1975)
    • 20. Earle Brown, Folio, prefatory note.
    • 21. Links might be made with Steve Reich's Music as Gradual Process in which he states “I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music.....What I'm interested in is a compositional process and a sounding music that are one and the same thing.” Steve Reich, 'Music as a Gradual Process', in Writings on Music 1965-2000, ed. Paul Hillier (Oxford: Oxford University Press, 2002), 34- 5.
    • 22. Claude Berge, 'For a Potential Analysis of Combinatorial Literature ', OULIPO: A Primer of Potential Literature, ed. Warren F. Motte Jr., 2nd Edn (Normal: Dalkey Archive Press, 1998) 118
    • 23. Mark Bernstein, 'Patterns of Hypertext', Proceedings of Hypertext '98, Frank Shipman, Elli Mylonas and Kaj Groenback, eds, Association for Computer Machinery. (New York, 1998). Text reproduced at http://www.eastgate.com/patterns/Print.html.
    • 24. An experience which may be familiar when rereading a book or seeing a film for a second time where previously unnoticed incidents assume greater significance based on knowledge of their eventual outcome.
    • 25. Marie-Laure Ryan, 'Multivariant Narratives', A Companion to Digital Humainities, eds. Susan Schreibman, Ray Siemens and John Unsworth. Oxford: Blackwell Publishing, 2004. 415-430.
    • 26. Mathias Spahlinger, 128 erfüllte Augenblicke (Wiesbaden: Breitkopf & Härtel, 1975), preliminary remark.
    • 27. Ibid.
    • 28. Again, a clear link can be made here with Reich's views on the audibility of compositional process.
    • 29. Peter Niklas Wilson, 'What a composer can never compose: Notes on Mathias Spahlinger's chamber music', trans. John Tyler Tuttle, Musica Impura, Accords 206222 (1998), 18.
    • 30. John Cage, Song Books: Volume I (New York: Peters Edition, 1970) general directions.
    • 31. John Cage, Concert for Piano and Orchestra (New York: Henmar Press, 1960), piano performance instructions.
    • 32. John Cage, Solo for Violin (New York: Henmar Press, 1960), performance instructions.
    • 33. The conductor in the Concert for Piano and Orchestra uses his arms to represent the hands of a clock. He controls the speed of musical time by varying their speed of rotation, thereby altering the players' predefined clock timings.
    • 34. For example, “I would assume that relations would exist between sounds as they would exist between people and that these relationships are more complex than any I would be able to prescribe. So by simply dropping that responsibility of making relationships I don't lose the relationship. I keep the situation in what you might call a natural complexity that can be observed in one way or another.” John Cage quoted in Michael Nyman, Experimental Music, 29.
    • 35. “Parts for voice and instruments without score (no fixed relation), title to be completed by adding to “Music for” - the number of players performing”. John Cage, Music for (New York: Henmar Press, 1984), title page.
    • 36. A piece is written on two systems and consists of either a held note or a more gestural passage in proportional notation. An interlude lasts 5, 10 or 15 seconds, and consists of single notes or chords to be played in free rhythm but with the specified articulation. 37. Ibid., performance instructions.
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