03755nam 2200637 450 991081320510332120200520144314.00-252-09667-3(CKB)3710000000485633(EBL)4306025(SSID)ssj0001583584(PQKBManifestationID)16263956(PQKBTitleCode)TC0001583584(PQKBWorkID)14864418(PQKB)11014982(MiAaPQ)EBC4306025(StDuBDS)EDZ0001642073(OCoLC)923011166(MdBmJHUP)muse35777(Au-PeEL)EBL4306025(CaPaEBR)ebr11137390(CaONFJC)MIL839190(OCoLC)935254915(EXLCZ)99371000000048563320160119h20152015 uy 0engur|||||||||||txtrdacontentcrdamediacrrdacarrierFrom scratch writings in music theory /James Tenney ; edited by Larry Polansky [and three others]Urbana, [Illinois] :University of Illinois Press,2015.©20151 online resourceDescription based upon print version of record.0-252-08437-3 0-252-03872-X Includes bibliographical references and index.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.ComposersMusic theoristsMusic theoryComposers.Music theorists.Music theory.780.922Tenney James1709566Polansky LarryMiAaPQMiAaPQMiAaPQBOOK9910813205103321From scratch4099396UNINA03057oam 22005294a 450 991031523040332120230621135900.01-950192-06-710.21983/P3.0244.1.00(CKB)4100000007823997(OAPEN)1004708(OCoLC)1147276673(MdBmJHUP)muse87230(oapen)https://directory.doabooks.org/handle/20.500.12854/37168(oapen)doab37168(EXLCZ)99410000000782399720181231d2019 uy 0engurmu#---auuuutxtrdacontentcrdamediacrrdacarrierNoise Thinks the Anthropocene: An Experiment in Noise PoeticsAaron Zwintscher1st edition.Brooklyn, NYpunctum books2019Santa Barbara, CA :Punctum Books,2019.©2019.1 online resource (154 pages) illustrations; PDF, digital file(s)Print version: 9781950192052 Includes bibliographical references.In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic. Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways.Theory of music & musicologybicsscElectronic books. anthropocenenoiseecological studiessound studiespoeticssustainability studiesTheory of music & musicologyZwintscher Aaron898040MdBmJHUPMdBmJHUPBOOK9910315230403321Noise Thinks the Anthropocene: An Experiment in Noise Poetics2006377UNINA