 Classical Music Since 1945: History and Overview Modes of Musical Discourse Reading Music and Technology, or Music in the Age of Electronic Reproduction Silence-Sound-Noise-Music Music as a Way of LifeMusic and Politics Experimental Music Minimalism Indeterminacy Improvised Music DJ Culture Electronic Music Classical Music Since 1945: History and Overview Reading David Cope, New Directions in Music (Madison, WI: Brown and Benchmark, 1993) Kyle Gann, American Music in the Twentieth Century (New York: Schirmer, 1997) Paul Griffiths, Modern Music:A Concise History from Débussy to Boulez (Thames & Hudson) Paul Griffiths, Encyclopedia of 20th-Century Music (Thames & Hudson, 1986) Joseph Machlis, Introduction to Contemporary Music (Norton) Robert Morgan, Twentieth-Century Music: A History of Musical Style in Modern Europe and America (Norton) John Rockwell, All-American Music: Composition in the Late Twentieth Century (New York: Knopf, 1983) Elliot Schwartz and Daniel Godrey, Music Since 1945: Issues, Methods, and Literature (Schirmer, 1993) Bryan R. Simms, Music of the Twentieth Century: Style and Structure, 2nd Ed. (New York: Schirmer, 1996) Reginald Smith Brindle, The New Music: The Avant-Garde Since 1945, 2nd Ed. (Oxford: Oxford University Press, 1993). Glenn Watkins, Soundings: Music in the Twentieth Century (New York: Schirmer, 1988) Modes of Listening Reading Theodor Adorno, "Types of Musical Conduct," in Introduction to the Sociology of Music (New York: Seabury Press, 1976), pp. 1-20. Roland Barthes, "Listening," in The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Richard Howard (New York: Hill and Wang, 1985), 245-60. Michel Chion, "The Three Listening Modes," in Audio/Vision: Sound on Screen (New York: Columbia University Press, 1994), 25-34. Simon Frith, "Songs as Texts," "Performance," "The Meaning of Music," in Performing Rites: On the Value of Popular Music (Harvard, 1996), 158-82, 203-25, 249-68. Pauline Oliveros, "Some Sound Observations" and "The Poetics of Environmental Sound," in Software for People: Collected Writings 1963-80 (Baltimore: Smith Publications, 1984), pp. 17-28. Pauline Oliveros, "The Earth Worm Also Sings: A Composer's Practice of Deep Listening," Leonardo Music Journal 3 (1993). Helmut Rösing, "Listening Behaviour and Musical Preferences in the Age of 'Transmitted Music'," Popular Music 4 (1984): 119-49. Dennis Smalley, "The Listening Imagination: Listening in the Electroacoustic Era," in Companion to Contemporary Musical Thought, Vol. I, ed. John Paynter et al. (London: Routledge, 1992), 514-554. Ola Stockfelt, "Adequate Modes of Listening," in Keeping Score: Music, Disciplinarity, Culture, ed. David Schwarz et al. (Charlottesville, VA: University of Virginia Press, 1997), 129-46. Listening Brian Eno, Music for Airports Pierre Schaeffer, Etude aux chemins de fer John Cage, 4'33" David Toop, Museum of Fruit Bernhard Günter, un peu du neige salie Tony Conrad, Four Violins Modes of Musical Discourse Reading Reading Roland Barthes, "The Grain of the Voice" and "Music, Voice, Language," in The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Richard Howard (New York: Hill and Wang, 1985), 267-85. Susan D. Crafts, Daniel Cavicchi, and Charles Keil, eds., My Music (Hanover, NH: Wesleyan University Press, 1993), 69-106. Kodwo Eshun, More Brilliant Than the Sun: Adventures in Sonic Fiction (London: Quartet Books, 1998), -007- -001, 185, 186, 188-189 Steven Feld, "Communication, Music, and Speech About Music," in Music Grooves: Essays and Dialogues, by Charles Keil and Steven Feld (Chicago: University of Chicago Press, 1994), 77-95. Simon Frith, "Songs as Texts," in Performing Rites: On the Value of Popular Music (Cambridge: Harvard University Press, 1996), 158-82. Ulf Poschardt, "The Writing Thing," DJ Culture, trans. Shaun Whiteside (London: Quartet, 1998), 32-5. Robert Walser, Running With the Devil: Gender, Power, and Madness in Heavy Metal Music (Hanover: Wesleyan University Press, 1993), 26-41. Listening Rap/Last Poets/Grandmaster Flash/Return of the DJ Fred Rzewski, Struggle Ralph Wehowsky, Pullover Remixes from Tortoise's, Millions Now Living Will Never Die Excerpt from Battle Sounds II (video) Video on John Cage Imaginary Landscapes (video on Brian Eno) Music and Technology, or Music in the Age of Electronic Reproduction Reading -- King Tubby piece from Mojo Theodor Adorno, "The Curves of the Needle," "The Form of the Phonograph Record," "Opera and the Long-Playing Record," October 55 (1990): 49-66. Jeremy J. Beadle, Will Pop Eat Itself? Pop Music in the Soundbite Era (London: Faber and Faber, 1993). Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, trans. Harry Zohn (New York: Schocken Books, 1968), 217-51. Lee B. Brown, "Phonography," in Aesthetics: A Reader in Philosophy of the Arts, ed. David Goldblatt and Lee B. Brown (Upper Saddle River, NJ: Prentice Hall, 1997), 252-7. Daniel Charles, "Music and Technology Today," in Art and Technology, ed. Rene Berger and Lloyd Eby (New York: Paragon House, 1986). Iain Chambers, "A Miniature History of the Walkman," New Formations 11 (1990): 1-4; reprinted as "The Aural Walk," in Migrancy, Culture, Identity (London: Routledge, 1994), 49-53. Michael Chanan, Repeated Takes: A Short History of Recording and its Effects on Music (London: Verso, 1995). Nicolas Collins, "Ubiquitous Electronics-Technology and Live Performance 1966-1996," Leonardo Music Journal 8 (1998). Chris Cutler, "Necessity and Choice in Musical Forms," in File Under Popular: Theoretical and Critical Writings on Music (New York: Autonomedia, 1993), 22-38. Chris Cutler, "Plunderphonics," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 67-85. Hugh Davies, "A History of Recorded Sound," in Poésie Sonore Internationale, ed. Henri Chopin (Paris: Jean-Michel Place Editeur, 1979), 13-40. Hugh Davies, "A History of Sampling," in unfiled: Music Under New Technology, ReR/Recommended Sourcebook 0401 (1994): 5-12. Alan Durant, "A New Day for Music? Digital Technologies in Contemporary Music Making," in Philip Hayward, ed. Culture, Technology and Creativity in the Late Twentieth Century (London: John Libbey, 1991). Evan Eisenberg, The Recording Angel: Explorations in Phonography (New York: McGraw-Hill, 1987). Brian Eno, "The Studio as Compositional Tool," Downbeat (July 1983): 56-7, and (August 1983): 50-2. Simon Frith, "Technology and Authority," in Performing Rites: On the Value of Popular Music (Harvard, 1996). Paul du Gay et al. eds, Doing Cultural Studies: The Story of the Sony Walkman (London: Sage, 1997). Andrew Goodwin, "Sample and Hold: Pop Music in the Digital Age of Reproduction," in On Record: Rock, Pop, and the Written Word, ed. Simon Frith and Andrew Goodwin (New York: Pantheon, 1990), 258-73. Glenn Gould, "The Prospects of Recording," "Music and Technology" and "The Grass is Always Greener in the Outtakes: An Experiment in Listening," in The Glenn Gould Reader, ed. Tim Page (New York: Alfred A. Knopf, 1984), 331-68. Theodore Gracyk, "I'll Be Your Mirror: Recording and Representing," and "Record Consciousness," in Rhythm and Noise: An Aesthetics of Rock (Durham, NC: Duke University Press, 1996), 37-98. H. Wiley Hitchcock, ed., The Phonograph and Our Musical Life, Institute for Studies in American Music Monographs: Number 14 (1980). S. Hosokawa, "The Walkman Effect," Popular Music 4 (1984): 165-80. Steve Jones, Rock Formation: Music, Technology, and Mass Communication (Sage, 1992). Douglas Kahn and Gregory Whitehead, eds., Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge: MIT, 1992). David Katz, "Lee Perry: The Primer," The Wire 189 (November 1999): 42-49. Friedrich Kittler, Gramaphone, Film, Typewriter (Stanford: Stanford University Press, 1999). Dave Laing, "A Voice Without a Face: Popular Music and the Phonograph," Popular Music 10:1 (1991). John Mowitt, "The Sound of Music in the Era of Its Electronic Reproducibility," in Music and Society: The Politics of Composition, Performance, and Reception, ed. Richard Leppert and Susan McClary (Cambridge: Cambridge University Press, 1987), 173-97. Negativland et al. Fair Use: The Story of the Letter U and the Number 2 (Concord, CA: Seeland, 1995) Richard Orton, ed., "The Technology of Music," in Companion to Contemporary Musical Thought, Vol I, ed. John Paynter et al. (London: Routledge, 1992), 317-621. John Oswald, "Plunderphonics, or Audio Piracy as a Compositional Prerogative," in Negativland et al. Fair Use: The Story of the Letter U and the Number 2 (Concord, CA: Seeland, 1995), also online at: http://www.interlog.com/~vacuvox/xplunder.html and http://www.halcyon.com/robinja/mythos/Plunderphonics.html#THIB John Oswald, "Bettered by the Borrower: The Ethics of Musical Debt," Whole Earth Review (Winter 1987): 104-8. John Oswald, "Creatigality," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 87-89. Ian Penman, "Listening Aids," The Wire 182 (April 1999): 46-49. Stephen Perkins, "Plagiarism: An Interview with the Tape-Beatles," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 217-24. Robert M. Poss, "Distortion is Truth," Leonardo Music Journal 8 (1998). Simon Reynolds, "John Oswald: Rites of the Living Dead," The Wire 142 (December 1995). Simon Reynolds, "Digital Psychedlia: Sampling and the Soundscape" and "In the Mix: DJ Culture and Remixology, 1993-97," in Generation Ecstasy: Into the World of Techno and Rave Culture (Boston: Little, Brown, and Co., 1998), 40-55, 270-81. Tricia Rose, "Soul Sonic Forces: Technology, Orality, and Black Cultural Practice in Rap Music," in Black Noise: Rap Music and Black Culture in Contemporary America (Hanover: Wesleyan University Press, 1994), pp. 62-96. David Sanjek, "'Don't Have to DJ No More': Sampling and the 'Autonomous' Creator," in The Construction of Authorship: Textual Appropriation in Law and Literature, ed. Martha Woodmansee and Peter Jaszi (Durham, NC: Duke University Press, 1994), 343-60. Neil Strauss, ed. Radiotext(e) (New York: Semiotext(e), 1993). Paul Theberge, Any Sound You Can Imagine: Making Music/Consuming Technology (Hanover, NH: Wesleyan University Press, 1997). Sarah Thornton, "Authenticities from Record Hops to Raves (and the History of Disc Culture)," in Club Cultures: Music, Media, and Subcultural Capital (Hanover, NH: Wesleyan University Press, 1996), 26-86. Listening King Tubby, "A Heavy Dub" Miles Davis/Teo Macero, selections John Oswald, Plexure; Grayfolded; Plunderphonics John Wall, Fractuur David Shea Us3, Hand on the Torch M/A/R/R/S, "Pump Up the Volume" Oval, Systemisch György Ligeti, Artikulation Viewing Sonic Outlaws Silence-Sound-Noise-Music Reading Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1985), 3-20. John Cage, "The Future of Music: Credo," in Silence: Lectures and Writings by John Cage (Hanover, NH: Wesleyan University Press, 1961), 3-6. Simon Reynolds, "Noise," in Blissed Out: The Raptures of Rock (London: Serpent's Tail, 1990), 57-62. Brian Duguid, "A Prehistory of Industrial Music," EST web zine (http://www.hyperreal.org/intersection/zines/est/articles) Theodore Gracyk, "Pump up the Volume," in Rhythm and Noise: An Aesthetics of Rock (Durham, NC: Duke University Press, 1996), 99-124. Douglas Kahn, Noise, Water, Meat (Cambridge, MA: MIT Press, 1999) Daniele Lombardi, "Futurism and Musical Notes," Artforum (January 1981): 43-8. Sharon Maher, "Technoise," Inferface Magazine, Version 12: 30-33. Ulf Poschardt, "The Underground Thing," DJ Culture, trans. Shaun Whiteside (London: Quartet, 1998), 21-29. Ronald Radano, "Interpreting Muzak: Speculations on Musical Experience in Everyday Life," American Music 7 (4) (1989). Re/Search: Industrial Culture Mary Russo and Dan Warner, "Rough Music, Futurism, and Postpunk Industrial Noise Bands," DisCourse 10 (Fall-Winter 1987-88), 55-76. Luigi Russolo, "The Art of Noises: Futurist Manifesto," in The Art of Noises, trans. Barclay Brown (New York: Pendragon Press, 1986), 23-30. R. Murray Schafer, The Tuning of the World (New York: Alfred A. Knopf, 1977). R. Murray Schafer, The Thinking Ear: Complete Writings on Music Education (Toronto: Arcana Editions, 1988). R. Murray Schafer, "Music, Non-Music, and the Soundscape," in Companion to Contemporary Musical Thought, Vol. I, ed. John Paynter et al. (London: Routledge, 1992), 34-45. Mark Sinker, "Destroy All Music," The Wire 180 (February 1999): 30-33. Mark Slouka, "Listening for Silence: Notes on the Aural Life," Harpers Magazine (April 1999): 63-68. Chris Twomey, "Developments from Industrial Music: Noise and Appropriation," in Sound by Artists, ed. Dan Lander and Micah Lexier (Toronto/Banff: Art Metropole/Walter Phillips Gallery, 1990), 267-81. Edgard Varèse, "The Liberation of Sound," in Contemporary Composers on Contemporary Music, Expanded Edition, ed. Elliott Schwartz and Barney Childs (New York: Da Capo, 1998), 196-208. Listening industrial music (e.g., Einstürzende Neubauten, Test Dept., Throbbing Gristle) Art of Noise Peter Brötzmann, Machine Gun; Last Exit Merzbow The Vancouver Soundscape Lou Reed, Metal Machine Music Music as a Way of Life Reading Jonathon Epstein, ed., Youth Culture: Identity in a Postmodern World (Oxford: Blackwell, 1998). Ken Gelder and Sarah Thornton, eds., The Subcultures Reader (London: Routledge, 1997). Steven Hagar, Hip Hop: The Illustrated History of Break Dancing, Rap Music, and Graffitti (St. Martins, 1984). Nelson George, Hip Hop America Stuart Hall and Tony Jefferson, eds., Resistance Through Rituals: Youth Subcultures in Post-War Britain (London: Routledge, 1993). Dick Hebdige, "Subculture: The Meaning of Style," in The Subcultures Reader, eds. Ken Gelder and Sarah Thornton (London: Routledge, 1997), 130-42. Angela McRobbie, Feminism and Youth Culture (London: MacMillan, 1991) Eric Perkins, ed., Droppin' Science Steve Redhead, ed., The Clubcultures Reader: Readings in Popular Cultural Studies (Oxford: Blackwell, 1997). Steve Redhead, ed, Rave Off: Politics and Deviance in Contemporary Youth Culture (Aldershot, Hampshire: Avebury, 1993). Simon Reynolds, "In Our Angelhood: Rave as Counterculture and Spiritual Revolution," in Generation Ecstasy: Into the World of Techno and Rave Culture (Boston: Little, Brown, and Company, 1998), 236-48. Cynthia Rose, Design After Dark: The Story of Dancefloor Style (London: Thames and Hudson, 1991) Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994). Will Straw, "Characterizing Rock Music Culture: The Case of Heavy Metal," in On Record: Rock, Pop, and the Written Word, ed. Simon Frith and Andrew Goodwin (New York: Pantheon, 1990), 97-110. Sarah Thornton, "Moral Panic, The Media, and British Rave Culture," in Microphone Fiends: Youth Music and Youth Culture, ed. Andrew Ross and Tricia Rose (New York: Routledge, 1994), 176-92. Sarah Thornton, Club Cultures: Music, Media, and Subcultural Capital (Hanover, NH: Wesleyan University Press, 1996). Robert Walser, from Running with the Devil: Power, Gender, and Madness in Heavy Metal Music (Hanover, NH: Wesleyan University Press, 1993), 151-65. Sheila Whitely, ed., Sexing the Groove: Popular Music and Gender (London: Routledge, 1997). Viewing The Decline of Western Civilization, Part I The Decline of Western Civilization, Part II Wild Style Better Living Through Circuitry Music and Politics Reading Theodor Adorno, Introduction to the Sociology of Music (Seabury) Theodor Adorno, "On the Fetish Character of Music and the Regression of Listening," The Essential Frankfurt School Reader, ed., Andrew Arato and Eike Gephardt (Continuum). Theodor Adorno, "The Social Situation of Music," Telos 35 (Spring 1988) Theodor Adorno,"On Popular Music," Studies in Philosophy and Social Science, No. 9 (1941): 17-48. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1985). Albrecht Betz, Hanns Eisler (Cambridge: Cambridge University Press, 1982). Chris Cutler, "'Progressive' Music, 'Progressive' Politics?," in File Under Popular: Theoretical and Critical Writings On Music (New York: Autonomedia, 1993), 143-61. Robin Denselow, When the Music's Over: The Story of Political Pop (London: Faber, 1986). Richard Barrett, "Cornelius Cardew," in New Music 87, ed. Finnissy and Wright (Oxford, 1987). Tricia Rose, "Hidden Politics: Discursive and Institutional Policing of Rap Music," in William Eric Perkins, ed., Droppin' Science: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), 236-57. Cornelius Cardew, "A Scratch Orchestra: Draft Constitution," "Introduction," and "Scratch Music-Early Outlines and Later Notes," in Cornelius Cardew, ed., Scratch Music (London: Latimer, 1972), 9-18. Mike Barnes, "Chris Cutler: Corporation of 1," The Wire 158 (April 1997): 49-53. Robin Balliger, "Sounds of Resistance," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 13-26. Hanns Eisler, A Rebel in Music (New York: International Publishers, 1978). Lydia Goehr, "'Music Has No Meaning to Speak of': On the Politics of Musical Interpretation," in The Interpretation of Music: Philosophical Essays, ed. Michael Krausz (Cambridge: Cambridge University Press, 1993), 177-90. Lydia Goehr, "Political Music and the Politics of Music," Journal of Aesthetics and Art Criticism 52: 1 (Winter 1994): 99-112. Andrew Goodwin and Joe Gore, "World Beat and the Cultural Imperialism Debate," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 121-131. W.O.M.A.D. Forum, "The Rattling Drums: Political Expression in World Music," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 247-55. Fred Wei-han Ho, "'Jazz,' Kreolization, and Revolutionary Music for the 21st Century," in Ron Sakolsky and Fred Wei-han Ho, eds., Sounding Off: Music as Subversion/Resistance/Revolution (New York: Autonomedia, 1996), 133-43. Ben Watson, Frank Zappa: The Negative Dialectics of Poodle Play (London: Quartet, 1993). Lawrence, Grossberg,We Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture (New York: Routledge, 1992). Lawrence Grossberg, Dancing In Spite of Myself: Essays on Popular Culture (Durham, NC: Duke University Press, 1997). Hans Werner Henze, Music and Politics (Ithaca, NY: Cornell University Press, 1982 ). Richard Leppert and Susan McClary, eds., Music and Society: The Politics of Composition, Performance, and Reception (Cambridge: Cambridge University Press, 1987). György Ligeti, "On Music and Politics," Perspectives of New Music (Spring/Summer 1978): 19-26. Christopher Norris, ed., Music and the Politics of Culture (New York: St. Martin's Press, 1989). John Tilbury, "Introduction to Cage's Music of Changes" and Cornelius Cardew, "Stockhausen Serves Imperialism," in Cornelius Cardew, Stockhausen Serves Imperialism and Other Articles (London: Latimer, 1974), 40-55. John Tilbury, "Some Reflections on Cardew's 'John Cage-Ghost or Monster?'" Leonardo Music Journal 8 (1998): 66-68. Plato, The Republic, Books II-III, various editions. John Street, Rebel Rock: The Politics of Popular Music (Blackwell, 1986). Listening Henry Cow, Concerts The Last Poets, The Last Poets Billy Bragg Linton Kwesi Johnson, Making History Gang of Four, Entertainment; Another Day/Another Dollar The Clash, Sandinista Hanns Eisler Cornelius Cardew, Thälmann Variations Frederic Rzewski, The People United Will Never Be Defeated; Attica; Coming Together Public Enemy, Fear of a Black Planet Anthony Davis, X Minutemen, Double Nickels on the Dime Experimental Music Reading various pieces from Source, Soundpieces, Desert Plants, Talking Music, etc. used in your article Christopher Ballantine, "Toward an Aesthetic of Experimental Music," Musical Quarterly Cornelius Cardew, "Criticism of The Great Learning," in Stockhausen Serves Imperialism and Other Articles (London: Latimer, 1974), 91-103. Christoph Cox, "Circuit Breakers," The Wire 188 (October 1999): 30-33. Thomas De Lio, ed., The Music of Morton Feldman (Westport, CT: Greenwood Press). Brian Dennis, "Repetitive and Systemic Music," Musical Times 115 (1974). Brian Dennis, "Cardew's 'Treatise': Mainly the Visual Aspects," Tempo 177 (June 1991). Brian Eno, "Generating and Organizing Variety in the Arts" Brian Eno, liner notes from Discreet Music (EG Records) Daniel Herwitz, "The Security of the Obvious: On John Cage's Musical Radicalism," Critical Inquiry 14 (Summer, 1988). Francis Dyson, "The Ear That Would Hear Sounds in Themselves: John Cage 1935-1965," in Douglas Kahn and Gregory Whitehead, eds., Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge: MIT, 1992). Morton Feldman Essays, ed. Walter Zimmerman (Kerpen: Beginner Press, 1985). Peter Gena, "Freedom in Experimental Music: The New York Revolution," Tri-Quarterly 52 (1981): 223-43. Paul Griffiths, "Gavin Bryars," in New Sounds, New Personalities: British Composers of the 1980's in Conversation (Londong: Faber and Faber, 1985), 148-59. Ron Kuivila and David Behrman, "Composing with Shifting Sand: A Conversation Between Ron Kuivila and David Behrman on Electronic Music and the Ephemerality of Technology," Leonardo Music Journal 8 (1998). Alvin Lucier, "I am Sitting in a Room," in Contemporary Composers on Contemporary Music, Expanded Edition, ed. Elliott Schwartz and Barney Childs (New York: Da Capo, 1998), 456-61. Alvin Lucier, "Origins of Form: Acoustical Exploration, Science and Incessancy," Leonardo Music Journal 8 (1998). Michael Nyman, Experimental Music: Cage and Beyond (New York: Schirmer, 1974). Michael Nyman, "Cage/Cardew," Tempo (December 1973). Michael Parsons, "Systems in Art and Music," Musical Times 117 (October 1976). Keith Potter, "Just the Tip of the Iceberg: Some Aspects of the Music of Gavin Bryars," Contact (1981). John Rockwell, "The American Experimental Tradition and Its Godfather (John Cage)," in All American Music: Composition in the Late Twentieth Century (New York: Vintage, 1983), 47-59. Eric Tamm, Brian Eno: His Music and the Vertical Color of Sound (Boston: Faber and Faber, 1989). Listening Bryars, 1, 2, 1, 2, 3, 4 Hobbs, McCrimmon Will Never Return Feldman, The Viola in My Life; Why Patterns Cardew, The Great Learning Lucier, I am Sitting in A Room Minimalism Reading John Adams interview in Perceptual Processes Kenny Berkowitz, "Minimal Impact: The Sons of Minimalism," Option 77 (November/December 1997): 49-55. Jonathan W. Bernard, "The Minimalist Aesthetic in the Plastic Arts and In Music," Perspectives of New Music 31 (1993): 86-132. William Duckworth, "Minimalists," in Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson and Five Generations of American Experimental Composers (New York: Schirmer, 1995), 207-342. William Duckworth and Richard Fleming, eds., "Sound and Light: La Monte Young and Marian Zazeela," Bucknell Review 40, no. 1 (1996). Cole Gagne, Soundpieces 2: Interviews with American Composers (Metuchen, NJ: Scarecrow, 1993). Kyle Gann, "La Monte Young's The Well-Tuned Piano," Perspectives of New Music 31 (1993): 134-62. Kyle Gann, "The Outer Edge of Consonance: Snapshots from the Evolution of La Monte Young's Tuning Installations," in Sound and Light: La Monte Young and Marian Zazeela, Bucknell Review Volume XL Number 1 (1996). Philip Glass, Music by Philip Glass (New York: Harper and Row, 1987). Daniel Herwitz, "The Security of the Obvious: On John Cage's Musical Radicalism," Critical Inquiry 14 (Summer 1988). H. Wiley Hitchcock, "Minimalism in Art and Music: Origins and Aesthetics," Art Journal. Otto Karolyi, "The Minimalists," in Modern American Music: From Charles Ives to the Minimalists (London: Cygnus Arts, 1996), 101-19. Alan Licht, "Excavation of the Minimalists," Pulse! (May 1999). Wim Mertens, American Minimal Music, trans. J. Hautekier (London: Kahn and Averill, 1983). Michael Nyman, "Minimal Music, Determinacy and the New Tonality," in Experimental Music: Cage and Beyond (New York: Schirmer, 1974), 119-48. Michael Nyman, "Against Intellectual Complexity in Music," October 13 (1980): 81-89. Jim O'Rourke, "Information Overload," Pulse! (May 1999) Claire Polin, "Why Minimalism Now?" in Music and the Politics of Culture, ed. Christopher Norris (New York: St. Martin's Press, 1989), 226-39. Steve Reich, "Music as a Gradual Process," in Writings About Music (New York: New York University Press, 1974), 9-11. K. Robert Schwarz, Minimalists (London: Phaidon, 1996). K. Robert Schwarz, "Steve Reich: Music as a Gradual Process," Perspectives of New Music (1980-81): 374-92, and (1981-82): 226-86. Dave Smith, "Following a Straight Line: La Monte Young," Contact (Winter 1977-78). Edward Strickland, Minimalism: Origins (Bloomington: Indiana University Press, 1993). David Toop, "Altered States III: Crystal World," in Ocean of Sound: Aether Talk, Ambient Sound, and Imaginary Worlds (London: Serpent's Tail, 1985). 172-94. Emily Wasserman, "An Interview with Composer Steve Reich," Artforum 10 (1972): 44-48. Tim Page, "Framing the River: A Minimalist Primer," High Fidelity (November 1981) Michael Nyman, "Steve Reich: Interview," Studio International 1976. Michael Nyman, "Steve Reich: An Interview with Michael Nyman," Musical Times (May 1971) [also see May 1971] Wilfrid Mellers, "A Minimalist Definition," Musical Times (1984). Ramon Pelinsky, Interview with La Monte Young, Interval (Spring 1984); Parachute 19 (1980) John Rockwell, "The Orient, the Visual Arts & the Evolution of Minimalism (Philip Glass)," in All-American Music: Composition in the Late Twentieth Century (New York: Knopf, 1983): 109-22. John Tilbury, "The Experimental Years: A View from the Left," Contact 22 (Summer 1981). John Tilbury, "Cornelius Cardew," Contact 26 (Spring 1983). Dan Warburton, "A Working Terminology for Minimal Music," Intégral 2 (1988) Mark Webber, "Dream Encounters: Interview with La Monte Young," The Wire 178 (December 1998): 34-45. La Monte Young and Morton Feldman, "The Limits of Composition," Resonance 7, no 1 (1998). Wim Mertens, book on Minimalism Listening Terry Riley, Poppy Nogood "All Night Flight" La Monte Young, The Well-Tuned Piano Pauline Oliveros (w/ Randy Raine-Reusch), In the Shadow of the Phoenix Philip Glass, Einstein on the Beach; Dances 1-5 Steve Reich, Four Organs; Four Marimbas, Come Out Arnold Dreyblatt, Nodal Excitation Rhys Chatham, Guitar Trio Tony Conrad, Four Violins Tony Conrad and Faust, Outside the Dream Syndicate Phill Niblock, The Young Person's Guide to Phill Niblock (Blast First) Charlemagne Palestine, Four Manifestations on Six Elements Various Artists, Reich Remixed (Nonesuch) Philip Glass/Aphex Twin, "Icct Hedral" John Coltrane, "My Favorite Things" µ-ziq, "Burnt Sienna," Tango N' Vectif The Orb, "Little Fluffy Clouds," and "Ubiquity" Tortoise/UNKLE, "Djed (Bruise Blood Mix)"; Tortoise, "Ten Day Interval" Jeff Mills, "The Bells" Phuture, "Acid Trax" Jim O'Rourke, Bad Timing, Happy Days Thomas Köner, from Teimo/Permafrost Ryoji Ikeda, +/- Velvet Underground, "Venus in Furs," "The Black Angel's Death Song," "I Heard Her Call My Name" Viewing Robert Ashley, Music With Roots in the Aether [7-part videotape featuring Philip Glass, Pauline Oliveros, Terry Riley, and others] Koyaanisquatsi (soundtrack by Philip Glass) Drowning by Numbers (soundtrack by Michael Nyman) Indeterminacy Reading Derek Bailey, Improvisation: Its Nature and Practice in Music (New York: Da Capo, 1992), 59-81. David Behrman, "What Indeterminate Notation Determines," Perspectives of New Music 3:2 (Spring 1964). Pierre Boulez, "Aléa," Perspectives of New Music 3:1 (Winter 1964). Earle Brown, "Form in New Music," Source 1:1 (January 1967). John Cage, "Composition as Process, Part II: Indeterminacy," in Silence: Lectures and Writings by John Cage (Hanover, NH: Wesleyan University Press, 1961), 35-40. Cornelius Cardew, "Notation-Interpretation, etc." Tempo 58 Cornelius Cardew, "On the Role of the Instructions in the Interpretation of Indeterminate Music, in Treatise Handbook (London: Edition Peters, 1971), xiv-xvi. Daniel Charles, "Entr'acte: 'Formal' or 'Informal' Music," Musical Quarterly (January 1965). Barney Childs, "Indeterminacy and Theory: Some Notes," The Composer (June 1969). Christoph Cox, "Classical 101: Graphic Scores," Pulse! (October 1999): 79. Umberto Eco, "Poetics of the Open Work," in The Role of the Reader: Explorations in the Semiotics of Texts (Bloomington: Indiana University Press, 47-66. Morton Feldman, "Predeterminate/Indeterminate," in Morton Feldman Essays (Kerpen: Beginner, 1985), 47-9. Kenneth Goldsmith, "Scored Improvisation," Pulse! (April 1999). Roman Haubenstock-Ramati, "Notation-Material and Form" Andy Hamilton, "Age of Chance," The Wire 183 (May 1999): 42-45. Roman Haubenstock-Ramati article from Dan Mike Heffley, The Music of Anthony Braxton (Westport, CT: Greenwood Press, 1996). Graham Lock, "The Wonderful Challenge of Sound Discovery," liner notes to Anthony Braxton, Quartet (Coventry) 1985 (Leo 204-205) Graham Lock, Forces in Motion: Anthony Braxton and the Meta-Reality of Creative Music, Interviews and Tour Notes, England 1985 (London: Quartet, 1988), 150-2, 173-4, 202-6, 237-40. Michael Nyman, "Indeterminacy 1960-70: Ichiyanagi, Ashley, Wolff, Cardew, Scratch Orchestra," in Experimental Music: Cage and Beyond (New York: Schirmer, 1974), 93-118. Ronald Radano, from New Musical Figurations: Anthony Braxton's Cultural Critique (Chicago: University of Chicago Press, 1993). Roger Reynolds, "It(')s Time," Electronic Music Review 7 (July 1968). Roger Reynolds, "Indeterminacy: Some Considerations," Perspectives of New Music 4:1 (Winter 1965). Roger Sutherland, "Graphics and Indeterminacy," in unfiled: Music Under New Technology, ReR/Recommended Sourcebook 0401 (1994): 80-93. Listening Stockhausen, Klavierstück XI Cage, Atlas Eclipticalis, Music of Changes, Concert, Inlets, HPSCHD Henri Pousseur, Scambi John Zorn, Cobra Anthony Braxton, Quartet (Coventry) 1985 Improvised Music Reading -- Mark Sinker piece from The Wire archive Derek Bailey, Improvisation: Its Nature and Practice in Music (New York: Da Capo, 1992). Cornelius Cardew, "Towards an Ethic of Improvisation," Treatise Handbook (London: Edition Peters, 1971), xvii-xx. Brian Case, "Focus on Sanity (Ornette Coleman)," Melody Maker (June 27, 1981) Eric F. Clarke, "Improvisation, Cognition and Education," in Companion to Contemporary Musical Thought, Vol. II, ed. John Paynter et al. (London: Routledge, 1992), 787-802. John Corbett, "Ephemera Underscored: Writing Around Free Improvisation," in Jazz Among the Discourses, ed. Krin Gabbard (Durham, NC: Duke University Press, 1994), 217-40. John Corbett, Extended Play: Sounding Off from John Cage to Dr. Funkenstein (Durham: Duke University Press, 1985). Ornette Coleman, "Ornette Coleman: Harmolodics and the Oldest Language," Musician 12 (May 1-June 15, 1978). Alan Durant, "Improvisation in the Political Economy of Music," in Music and the Politics of Culture, ed. Christopher Norris (New York: St. Martin's Press, 1989), 252-82. John Litweiler, The Freedom Principle: Jazz after 1958 (Morrow, 1984). John Litweiler, "The Art Ensemble of Chicago: Adventures in the Urban Bush," Down Beat (June 1982). Howard Mandel, Future Jazz (Oxford University Press, 1999). Lawrence "Butch" Morris, "Theory and Contradiction: Notes on Conduction," liner notes to Testament: The Conduction Collection (New World Records) Richard Orton, "From Improvisation to Composition," in Companion to Contemporary Musical Thought, Vol. II, ed. John Paynter et al. (London: Routledge, 1992), 762-75. Robert Palmer, "Ornette Coleman Makes Waves," Rolling Stone (August 25, 1977). Robert Palmer, "Ornette Coleman: Harmolodic Stompdown," New York Rocker (October 1981). Paul Pignon, "Far from Equilibrium," unfiled: Music Under New Technology, ReR/Recommended Sourcebook 0401 (1994): 37-42. Edwin Prévost, "AMM and the Practice of Self-Invention" and "Improvisation: Music for an Occasion," in No Sound is Innocent (Essex: Copula, 1995), 7-29, 167-78. Tom Roe, "Generation Ecstasy: Ecstatic Jazz," The Wire 189 (November 1999): 34-40. John Rockwell, "Jazz, Group Improvisation, Race & Racism (The Art Ensemble of Chicago)," in All-American Music: Composition in the Late Twentieth Century (New York: Knopf, 1983), 164-75. John Rockwell, "Free Jazz, Body Music & Symphonic Dreams (Ornette Coleman), in All-American Music: Composition in the Late Twentieth Century (New York: Knopf, 1983), 185-97. Michael Shore, "Ornette, Ready for Prime Time," Soho News (July 1, 1981). Leo Smith, "Creative Music and the AACM," in Rober Walser, ed., Keeping Time: Readings in Jazz History Neil Sorrell, "Improvisation," in Companion to Contemporary Musical Thought, Vol. II, ed. John Paynter et al. (London: Routledge, 1992), 776-86. A. B. Spellmann, "Cecil Taylor," and "Ornette Coleman," in Black Music: Four Lives (New York: Schocken, 1966), 1-150. Quincy Troupe, "Ornette Coleman: Going Beyond Outside," Musician 37 (November 1981). Valerie Wilner, As Serious as Your Life: The Story of the New Jazz (Pluto) Barry Witherden, "The Primer: Ornette Coleman," The Wire 181 (March 1999):46-51. Rafi Zabor, "Profile: The Art Ensemble," Musician 17 (April 1979). Listening John Coltrane, Ascension Cecil Taylor Lawrence "Butch" Morris, Testament: The Conduction Collection Derek Bailey, Aida Art Ensemble of Chicago AMM, AMMusic 1966 MEV MIC Viewing Video: Art Ensemble of Chicago DJ Culture Reading Bill Brewster and Frank Broughton, Last Night a DJ Saved My Life: The Story of the Disc Jockey (Headline, 1999). Laszlo K. Géfin, "Collage Theory, Reception, and the Cut-ups of William Burroughs," Literature and the Other Arts: Perspectives on Contemporary Literature 13 (1987). Paul D. Miller (DJ Spooky), "Cartridge Music: Of Palimpsests and Parataxis, or How to Make a Mix," Parkett 46 (1996): 183-88. Robin Lydenberg, "Sound Identity Fading Out: William Burroughs' Tape Experiments," in Douglas Kahn and Gregory Whitehead, eds., Wireless Imagination: Sound, Radio, and the Avant-Garde (Cambridge: MIT, 1992). Henri Chopin, "William Burroughs," in Poésie Sonore Internationale, ed. Henri Chopin (Paris: Jean-Michel Place Editeur, 1979). Benjamin Noys, "Into the 'Jungle'," Popular Music 14 (1995): 321-32. Ulf Poschardt, DJ Culture, trans. Shaun Whiteside (London: Quartet, 1998). Simon Reynolds, Generation E: Into the Worlds of Techno and Rave Culture (Boston: Little, Brown, and Company, 1998). Tricia Rose, "Soul Sonic Forces: Technology, Orality, and Black Cultural Practice in Rap Music," in Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994), 62-96. James A. Snead, "Repetition as a Figure of Black Culture," in Black Literature and Literary Theory, ed. Henry Louis Gates, Jr. (New York: Methuen, 1984), 59-79. Kodwo Eshun, More Brilliant Than the Sun: Adventures in Sonic Fiction (London: Quartet Books, 1998). from Ulf Poschardt, DJ Culture (e.g., on Grandmaster Flash) Peter Shapiro on Turntablism (Wire articles) Friedrich Kittler, "Gramophone, Film, Typewriter" Art Lange, "The Primer: Musique Concrète," The Wire 174 (August 1998): 50-55. Sanjek, "'Don't Have to DJ No More" Eshun on Grandmaster Flash Adorno, "The Curves of the Needle," "The Form of the Phonograph Record" Moholy-Nagy, "New Form in Music: Potentialities of the Phonograph," in Krisztina Passuth, Maholy-Nagy (Thames and Hudson, 1985). Moholy-Nagy, "Production-Reproduction," in Krisztina Passuth, Maholy-Nagy (Thames and Hudson, 1985). David Toop, Rap Attack 3: African Rap to Global Hip Hop (London: Serpent's Tail, 1999) Josh Kun, "A Select History of Found Sound," Option 73 (March-April 1997): 64-8. John Diliberto, "Pierre Schaeffer and Pierre Henry: Pioneers in Sampling," Electronic Musician (December 1986) Simon Reynolds, "In the Mix: DJ Culture and Remixology, 1993-97," in Generation Ecstasy: Into the World of Techno and Rave Culture (Boston: Little, Brown, and Company, 1998), 270-81. Kevin Concannon, "Cut and Paste: Collage and the Art of Sound," in Sound by Artists, ed. Dan Lander and Micah Lexier (Toronto/Banff: Art Metropole/Walter Phillips Gallery, 1990), 161-82. Sarah Thornton, "Authenticities from Record Hops to Raves (and the History of Disc Culture)," in Club Cultures: Music, Media, and Subcultural Capital (Hanover, NH: Wesleyan University Press, 1996), 26-86. Listening John Cage, "Imaginary Landscape nos. 1, 4, 5," "Williams Mix," "Cartridge Music" Pierre Schaeffer, "Etude Aux Chemins De Fer" William Burroughs, William Burroughs/Break Through in Grey Room, From the Archives of William S. Burroughs: "Nothing Here Now but the Recordings" Lee "Scratch" Perry King Tubby Christian Marclay, Records 1981-1989 Grandmaster Flash, "The Adventures of Grandmaster Flash on the Wheels of Steel" David Byrne and Brian Eno, My Life in a Bush of Ghosts David Shea John Wall DJ Vadim, "Melodies in Hinge Creek" Invisibl Skratch Piklz Various Artists, Altered Beats (Axiom) Various Artists, Return of the DJ, Vols. I and II (Bomb Hip Hop) Various Artists, Valis 1: Destruction of Syntax (Subharmonic) Film/Video Battle Sounds or Turntable TV or Hang the DJ Electronic Music Reading Joel Chadabe, from Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997). Matthew Collin, Altered State: The Story of Ecstasy Culture and Acid House (London: Serpent's Tail, 1998). Jonathan Cott, Stockhausen: Conversations with the Composer (New York: Simon and Schuster, 1973). Christoph Cox, "Circuit Breakers," The Wire 188 (October 1999): 30-33. Tod Dockstader, "Inside-Out: Electronic Rock," Electronic Music Review (January 1968). Björk Gudmundsdottir, "Björk Meets Karlheinz Stockhausen: Compose Yourself," Dazed and Confused 23 (August 1996) (http://www.pip.dknet.dk/~pip971/bjork/b_stock.html) Otto Luening, "Some Random Remarks about Electronic Music," Journal of Music Theory 8 (Spring 1964). Robin Maconie, ed., Stockhausen on Music: Lectures and Interviews (London: Marian Boyers, 1989). Henri Pousseur, "Calculation and Imagination in Electronic Music," Electronic Music Review (January 1968). Karlheinz Stockhausen, "Electronic and Instrumental Music," Die Reihe 5 (1959): 59-67. Karlheinz Stockhausen, "The Concept of Unity in Electronic Music," Perspectives of New Music (1962): 39-48. Philip Tagg, "From Refrain to Rave: The Decline of Figure and the Rise of Ground," Popular Music 13 (May 1994): 209-222 (http://www.liv.ac.uk/ipm/tagg/pmusrave.htm) David Toop, Ocean of Sound: Aether Talk, Ambient Sound, and Imaginary Worlds (London: Serpent's Tail, 1985).\ Aurelio de la Vega, "Electronic Music, Tool of Creativity," Music Journal 23 (1965). Barry Witherden, "Stockhausen: The Primer," The Wire 154 (December 1996): 40-3. Dick Witts/Karlheinz Stockhausen, "Advice to Clever Children/Advice from Clever Children," The Wire 141 (November 1995): 33-35. Listening Stockhausen, Mikrophonie, Kontakte, Hymnen, Gesang der Jünglinge, Zyklus, Refrain Morton Subotnick, Silver Apples of the Moon Kraftwerk, Autobahn, Trans-Europe Express Juan Atkins Derrick May Autechre, Tri Repetae Microstoria, init ding Panasonic, Kulma Pole, CD 1 Wabi Sabi, Wabi Sabi Photek Squarepusher, Big Loada Derek Bailey, Playbacks Viewing Modulations (Iara Lee, 1998) Better Living Through Circuitry The Last Angel of History (John Akomfrah, 1995) |