Selected Readings

The following is a non-exhaustive list of readings available here in PDF format, for preparation, and/or critical review at the discretion of the instructor.

Agawu, Kofi. “How We Got Out of Analysis, and How to Get Back In,” Musical Analysis. 23, ii-iii (2004): 267-286

[ download Agawu PDF ]

Babbitt, Milton. “Who Cares if You Listen.” In Contemporary Composers on Contemporary Music, expanded ed., edited by Elliott Schwartz and Barney Childs, 243-250. New York: Da Capo Press, 1998.

[ download Babbitt PDF ]

Begbie, Jeremy S. Theology, Music and Time. Cambridge: Cambridge University Press (2000): 128-154 [ch.5: Music, Time and Eternity]

[ download Begbie PDF ]

Berry, Mark. “Music, Postmodernism, and George Rochberg’s Third String Quartet.” In Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Auner, 235-248. New York: Routledge, 2002.

[ download Berry PDF ]

Bruhn, Siglind. Messiaen’s Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s. Hillsdale, NY: Pendragon (2007): 41-68 [Elements of a Musical Language of Faith]

[ download Bruhn ‘Musical Language of Faith’ PDF ]

Bruhn, Siglind. Messiaen’s Explorations of Love and Death: Musico-Poetic Signification in the “Tristan Trilogy” and Three Related Song Cycles. Hillsdale, NY: Pendragon (2008): 197-232 [Turangalila Symphony]

[ download Bruhn ‘Turangalila’ PDF ]

Carter, Elliott. “Shop Talk by an American Composer.” In Contemporary Composers on Contemporary Music, expanded ed., edited by Elliott Schwartz and Barney Childs, 261-273. New York: Da Capo Press, 1998.

[ download Carter PDF ]

Foucault, Michel, and Pierre Boulez, trans. John Rahn. “Contemporary Music and the Public.” Perspectives of New Music 24, no. 1 (1985): 6-12.

[ download Foucault-Boulez PDF ]

Gloag, Kenneth. Postmodernism in Music. Cambridge: Cambridge University Press (2012): 1-15 [ch.1: Introducing Postmodernism]

[ download Gloag ch 1 PDF ]

Gloag, Kenneth. Postmodernism in Music. Cambridge: Cambridge University Press (2012): 132-148 [ch.8: The Music of Sofia Gubaidulina (and others)]

[ download Gloag ch 8 PDF ]

Hallam, Mandy, and James MacMillan. “Conversation with James MacMillan.” Tempo 62, no. 245 (2008): 17-29

[ download Hallam/MacMillan PDF ]

Hillier, Paul. Arvo Pärt. Oxford: Oxford University Press (1997): 1-23 [ch.1: Sounding Icons]

[ download Hillier ch 1 PDF ]

Hillier, Paul. Arvo Pärt. Oxford: Oxford University Press (1997): 86-97 [ch.5: Tintinnabuli]

[ download Hillier ch 5 PDF ]

Hindemith, Paul. “From A Composer’s World.” In Contemporary Composers on Contemporary Music, expanded ed., edited by Elliott Schwartz and Barney Childs, 80-98. New York: Da Capo Press, 1998.

[ download Hindemith PDF ]

Howard, Luke. “Production vs. Reception in Postmodernism: The Gorecki Case.” In Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Auner, 195-206. New York: Routledge, 2002.

[ download Howard PDF ]

Kerman, Joseph. “How We Got into Analysis, and How to Get Out.” Critical Inquiry 7, no. 2 (1980): 311-331.

[ download Kerman PDF ]

Kramer, Jonathan D. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer (1988): 183-200 [from ch.7: Analytic Interlude – Schoenberg’s op.19 no.1, and Webern’s op.29:1]

[ download Kramer ch 7 PDF ]

Kramer, Jonathan D. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer (1988): 201-220 [ch.8: Discontinuity and the Moment]

[ download Kramer ch 8 PDF ]

Lochhead, Judy. “Introduction.” In Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Auner, 1-11. New York: Routledge, 2002.

[ download Lochhead PDF ]

McClary, Susan. “Terminal Prestige: The Case of Avant-Garde Music Composition.” Cultural Critique, No. 12 (1989): 57-81.

[ download McClary PDF ]

Morgan, Robert P. “Secret Languages: The Roots of Musical Modernism.” Critical Inquiry 10, no. 3 (1984): 442-461.

[ download Morgan PDF ]

Pickstock, Catherine. “Quasi Una Sonata: Modernism, Postmodernism, Religion, and Music.” In Resonant Witness: Conversations Between Music and Theology, edited by Jeremy S. Begbie and Steven R. Guthrie, 190-211. Grand Rapids, Michigan: Eerdmans, 2011

[ download Pickstock PDF ]

Reich, Steve. Writings on Music. New York: Oxford University Press (2002): 31-32 [Pendulum Music], 34-36 [Music as a Gradual Process], 38-50 [The Phase-Shifting Pulse Gate, etc], 81-82 [Music and Performance], 87-90 [Music for 18 Musicians], 100-105 [Tehillim], 158-162 [Questionnaire]

[ download Reich PDF ]

Schoenberg, Arnold. “Composition with Twelve Tones.” In Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein. 214-249. New York: St. Martins Press, 1975.

[ download Schoenberg Comp-12-Tones PDF ]

Straus, Joseph N. Introduction to Post-Tonal Theory, 3rd ed. Upper Saddle River, New Jersey: Pearson Prentice Hall (2005): 1-15 [from ch.1: Basic Concepts and Definitions]

[ download Straus ch 1 PDF ]

Straus, Joseph N. Introduction to Post-Tonal Theory, 3rd ed. Upper Saddle River, New Jersey: Pearson Prentice Hall (2005): 33-60 [ch.2: Pitch-Class Sets]

[ download Straus ch 2 PDF ]

Taruskin, Richard. Music in the Late Twentieth Century. Oxford, New York: Oxford University Press (2010): 1-44 [from ch.1: Starting From Scratch]

[ download Taruskin ch 1 PDF ]

Taruskin, Richard. Music in the Late Twentieth Century. Oxford, New York: Oxford University Press (2010): 55-101 [ch.2: Indeterminacy]

[ download Taruskin ch 2 PDF ]

Taylor, Timothy D. “Music and Musical Practices in Postmodernity.” In Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Auner, 93-118. New York: Routledge, 2002.

[ download Taylor PDF ]

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