Contemporary Music Review

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Harry Partch: An Anthology of Critical Perspectives

1st Edition

Edited By David Dunn
March 01, 2000

This anthology of writings about the American experimental composer Harry Partch is the most comprehensive collection of commentaries about the composer and his work ever assembled. Eleven major figures of contemporary music voice their views on Partch (1901-1974) and his radical contributions to ...

Music and Mysticism: Parts 3 and 4

1st Edition

Edited By Maxwell Steer
February 01, 1997

This title available in eBook format. Click here for more information.Visit our eBookstore at: www.ebookstore.tandf.co.uk....

Timbre Composition in Electroacoustic Music

1st Edition

Edited By Simon Emmerson
June 01, 1994

First Published in 1994. The contributions to this collection have been selected to define a range of interests from the technical, aesthetic, cognitive and compositional spheres. The book addresses the continuing need for musicologists, psychologists, composers and listeners to enter into a ...

Flute and Shakuhachi

1st Edition

Edited By Jo Kondo, J. Benitez
March 01, 1994

First Published in 1994. In their quest for new sound materials, avant-garde musicians often produce sounds which accidentally bear a strong resemblance to traditional instruments. While conventional Western instruments have taken on a functional role, instruments such as the shakuhachi are still ...

Music and the Cognitive Sciences 1990

1st Edition

By Ian Cross, Irene Deliege
January 01, 1994

This issue comprises the twenty-five papers presented at the Second Music and the Cognitive Sciences conference held at Cambridge University in 1990....

Time in Contemporary Musical Thought

1st Edition

Edited By Jonathan D. Kramer
January 01, 1993

The articles in this collection create an interdisciplinary perspective. While attempting no unified vision, it approaches the subject from a variety of perspectives: aesthetics, psychology, sociology, ethnomusicology, compositional practice, and semiotics. While all composers are necessarily ...