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From scratch : writings in music theory, James Tenney / edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter.

Contributor(s): Tenney, James | Pratt, Lauren [editor.] | Wannamaker, Rob [editor.] | Winter, Michael, 1980- [editor.] | Polansky, Larry, 1954- [editor.].
Material type: TextTextSeries: JSTOR eBooks.Publisher: Urbana, Illinois : University of Illinois Press, 2015Description: 1 online resource (xxxi, 467 pages) : illustrations.Content type: text Media type: computer Carrier type: online resourceISBN: 9780252096679; 0252096673.Other title: Writings in music theory.Subject(s): Composers | Music theorists | Music theoryGenre/Form: Electronic books.Additional physical formats: Print version:: From scratchDDC classification: 780 Online resources: Click here to view this ebook.
Contents:
Introduction / Larry Polansky -- On the development of the structural potentialities of rhythm, dynamics, and timbre in the early nontonal music of Arnold Schoenberg (1959) -- Meta [does not equal] Hodos (1961) -- Computer music experiences, 1961-1964 (1964) -- On the physical correlates of timbre (1965) -- Excerpts from "An experimental investigation of timbre---the violin" (1966) -- Form in twentieth-century music (1969-70) -- META Meta [does not equal] Hodos (1975) -- The chronological development of Carl Ruggles's melodic style (1977) -- Hierarchical temporal gestalt perception in music: a metric space model (with Larry Polansky) (1978-80) -- Introduction to "Contributions toward a quantitative theory of harmony" (1979) -- The structure of harmonic series aggregates (1979) -- John Cage and the theory of harmony (1983) -- Reflections after Bridge (1984) -- Review of Music as heard by Thomas Clifton (1985) -- About Changes: sixty-four studies for six harps (1987) -- Darmstadt lecture (1990) -- The several dimensions of pitch (1993/2003) -- On "crystal growth" in harmonic space (1993/2003) -- About Dispason (1996) -- Appendix 1. Pre-Meta [does not equal] Hodos (1959) -- Appendix 2. On musical parameters (ca. 1960-1961) -- Appendix 3. Excerpt from A history of 'consonance' and 'dissonance' (1988).
Summary: One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch is a collection of Tenney's hard-to-find writings arranged, edited, and revised by the self-described "composer/theorist." Selections focus on his fundamental concerns - "what the ear hears" - and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.
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Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
Online
ML410.T28 F76 2015 (Browse shelf) https://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.5406/j.ctt6wr6t7 Available ocn923011166

Includes bibliographical references.

Introduction / Larry Polansky -- On the development of the structural potentialities of rhythm, dynamics, and timbre in the early nontonal music of Arnold Schoenberg (1959) -- Meta [does not equal] Hodos (1961) -- Computer music experiences, 1961-1964 (1964) -- On the physical correlates of timbre (1965) -- Excerpts from "An experimental investigation of timbre---the violin" (1966) -- Form in twentieth-century music (1969-70) -- META Meta [does not equal] Hodos (1975) -- The chronological development of Carl Ruggles's melodic style (1977) -- Hierarchical temporal gestalt perception in music: a metric space model (with Larry Polansky) (1978-80) -- Introduction to "Contributions toward a quantitative theory of harmony" (1979) -- The structure of harmonic series aggregates (1979) -- John Cage and the theory of harmony (1983) -- Reflections after Bridge (1984) -- Review of Music as heard by Thomas Clifton (1985) -- About Changes: sixty-four studies for six harps (1987) -- Darmstadt lecture (1990) -- The several dimensions of pitch (1993/2003) -- On "crystal growth" in harmonic space (1993/2003) -- About Dispason (1996) -- Appendix 1. Pre-Meta [does not equal] Hodos (1959) -- Appendix 2. On musical parameters (ca. 1960-1961) -- Appendix 3. Excerpt from A history of 'consonance' and 'dissonance' (1988).

One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch is a collection of Tenney's hard-to-find writings arranged, edited, and revised by the self-described "composer/theorist." Selections focus on his fundamental concerns - "what the ear hears" - and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.

Print version record.

Reviews provided by Syndetics

CHOICE Review

James Tenney (1934-2006), an American experimental composer, taught and wrote about music theory in the broadest sense of the discipline. His writings constitute a remarkable investigation into musical acoustics, the history of recent experimental music, and above all the philosophy of music. In the last regard, he is best known for the essay "Meta Hodos" (1961)--included in this volume--a kind of experimental music credo, long circulated in photocopies among experimental composers, adventuresome performers, and forward-looking music theorists. This book will be of interest as both a primary and a secondary source: it is a testament to avant-garde musical thought from the 1960s until the advent of postmodernism in the 1980s, and it also raises questions that are in many regards perennial. Tenney's writing requires a considerable sophistication from the reader. Thus the book is most suitable to advanced scholars and most pertinent to composers and music theorists. Summing Up: Recommended. Graduate students, researchers, faculty, professionals. --Murray Dineen, University of Ottawa, School of Music

Author notes provided by Syndetics

James Tenney was a prolific and important experimental composer, theorist, writer, and performer. His books include Meta + Hodos: A Phenomenology of Twentieth-Century Musical Materials and an Approach to the Study of Form and A History of "Consonance" and "Dissonance". Larry Polansky is Professor of Music at the University of California, Santa Cruz, Emeritus Strauss Professor of Music at Dartmouth College, and founding editor of the Leonardo Music Journal. Lauren Pratt is the associate producer of music at Roy and Edna Disney/CalArts Theater and executor of the Tenney estate. Robert Wannamaker is Associate Dean at the California Institute of the Arts, where he teaches music composition, theory, history, and literature. Michael Winter is a composer and founder and director of the wulf. in Los Angeles and helped complete Tenney's final musical work, Arbor Vitae.

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