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Reading List - Composing, Listening, Performing - 2012-13

Apple, Jacki, Regine Beyer, and Richard Kostelanetz. "Making Radio Waves." TDR (1988-) 36.2 (1992): 7-14. Print.

Ashley, Robert. "Combination Wedding and Funeral." The Tulane Drama Review 10.2 (1965): 195-202. Print.

---. "Evening." The Tulane Drama Review 10.2 (1965): 187-91. Print.

Auslander, Philip. "Going with the Flow: Performance Art and Mass Culture." TDR (1988-) 33.2 (1989): 119-36. Print.

---. "Looking at Records." TDR (1988-) 45.1 (2001): 77-83. Print.

---. "Performance Analysis and Popular Music: A Manifesto." Contemporary Theatre Review 14.1 (2004): 1-13. Print.

Bailey, Derek. Improvisation: Its Nature and Practice in Music. 2nd ed. London Da Capro Press 1993. Print.

Banks, Joe. "Rorschach Audio: Ghost Voices and Perceptual Creativity." Leonardo Music Journal 11 (2001): 77-83. Print.

Berio, Luciano, et al. "Four Envois." Perspectives of New Music 31.2 (1993): 132-35. Print.

Bernard, Jonathan. "The Minimalist Aesthetic in the Plastic Arts and in Music." Perspectives of New Music 31.1 (1993): 86-132. Print.

Boehmer, Konrad, and Ian Pepper. "Chance as Ideology." October 82 (1997): 62-76. Print.

Boretz, Benjamin. "Regretting John Cage and Kenneth Gaburo: A Gathering of Texts." Perspectives of New Music 31.2 (1993): 118-26. Print.

Brecht, George. Chance-Imagery. New York: Something Else Press, 1966. Print. <http://www.ubu.com/historical/gb/brecht_chance.pdf>

Bradby, David, Maria Delgado, and Henry Little. "Adventures in Music Theatre." Contemporary Theatre Review 14.1 (2004): iii-vi. Print.

Brooks, William. "John Cage and History: Hymns and Variations." Perspectives of New Music 31.2 (1993): 74-103. Print.

Burston, Jonathan. "Theatre Space as Virtual Place: Audio Technology, the Reconfigured Singing Body, and the Megamusical." Popular Music 17.2 (1998): 205-18. Print.

Burt, Warren. "Australian Experimental Music 1963-1990." Leonardo Music Journal 1.1 (1991): 5-10. Print.

Butchers, Christopher. "The Random Arts: Xenakis, Mathematics and Music." TempoNew Series.85 (1968): 2-5. Print.

Butler, Mark. "Taking It Seriously: Intertextuality and Authenticity in Two Covers by the Pet Shop Boys." Popular Music 22.1 (2003): 1-19. Print.

Cage, John. Silence: Lectures and Writings Middletonwn, Connecticut: Wesleyan University Press, 1961. Print.

---. "Reflections of a Progressive Composer on a Damaged Society." October 82 (1997): 77-93. Print.

Cardew, Cornelius. "John Cage: Ghost or Monster?" Leonardo Music Journal 8 (1998): 3-4. Print.

Catalano, Joe. "Electronic Midwifery: A Videophone Celebration of Pauline Oliveros's "Four Decades of Composing and Community"." Leonardo Music Journal 3 (1993): 29-34. Print.

Chadabe, Joel. "The History of Electronic Music as a Reflection of Structural Paradigms." Leonardo Music Journal 6 (1996): 41-44. Print.

---. "Remarks on Computer Music Culture." Computer Music Journal 24.4 (2000): 9-11. Print.

Childs, Barney. "Directions in American Composition since the Second World War." Music Educators Journal 61.7 (1975): 34-45. Print.

Collins, Nicolas. "Introduction: Composers inside Electronics: Music after David Tudor." Leonardo Music Journal 14 (2004): 1-3. Print.

Cook, Nicholas. "Between Process and Product- Music and/as Performance." Music Theory Online 7.2 (2001): 1-17. Print.

Cox, Christoph, and Daniel Warner, eds. Audio Culture: Readings in Modern Music. London: Continuum, 2004. Print.

Cross, Lowell. ""Reunion": John Cage, Marcel Duchamp, Electronic Music and Chess." Leonardo Music Journal 9 (1999): 35-42. Print.

Dahl, S, and A Friberg. "Expressiveness of a Marimba Player's Body Movements." Speech, Music and Hearing, Quarterly Progress and Status Report 45.4 (2004): 75-86. Print.

Daley, Mike. "Patti Smith's 'Gloria': Intertextual Play in a Rock Vocal Performance." Popular Music 16.3 (1997): 235-53. Print.

Davies, Hugh. "Gentle Fire: An Early Approach to Live Electronic Music." Leonardo Music Journal 11 (2001): 53-60. Print.

Dunn, David. "Wilderness as Reentrant Form: Thoughts on the Future of Electronic Art and Nature." Leonardo 21.4 (1988): 377-82. Print.

Earls, Paul. "Harry Partch: Verses in Preparation for "Delusion of the Fury"." Anuario 3 (1967): 1-32. Print.

Ehle, Robert. "From Sound to Silence: The Classical Tradition and the Avant-Garde." Music Educators Journal 65.7 (1979): 36-41. Print.

Ferreira, Pedro Peixoto, et al. "When Sound Meets Movement: Performance in Electronic Dance Music." Leonardo Music Journal 18 (2008): 17-20. Print.

Fetterman, William. John Cage’s Theatre Pieces: Notations and Performances Netherlands: Harwood Academic Publishers, 1996. Print.

Fink, Robert. "Do It ('Til You're Satisfied): Repetitive Musics and Recombinant Desires." Repeating Orselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005. 25-61. Print.

Fisher, John. "The Value of Natural Sounds." Journal of Aesthetic Education 33.3 (1999): 26-42. Print.

Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture." Leonardo 20.2 (1987): 143-47. Print.

Freire, Sergio. "Early Musical Impressions from Both Sides of the Loudspeaker." Leonardo Music Journal 13 (2003): 67-71. Print.

Gann, Kyle. "Music-Theater Lite for a Dark Age." Theater 30.2 (2000): 24-33. Print.

Geyrhalter, Thomas. "Effeminacy, Camp and Sexual Subversion in Rock: The Cure and Suede." Popular Music 15.2 (1996): 217-24. Print.

Griffiths, Paul. Modern Music and After: Directions since 1945 Oxford: OUP, 1995. Print.

Hanoch-Roe, Galia. "Musical Space and Architectural Time: Open Scoring Versus Linear Processes." International Review of the Aesthetics and Sociology of Music 34.2 (2003). Print.

Heile, B. "Recent Approaches to Experimental Music Theatre and Contemporary Opera." Music and Letters 87.1 (2006): 72-81. Print.

Hicks, Michael. "John Cage's Studies with Schoenberg." American Music 8.2 (1990): 125-40. Print.

Higgins, Dick. "The Origin of Happening." American Speech 51.3/4 (1976): 268-71. Print.

Holm-Hudson, Kevin. "Quotation and Context: Sampling and John Oswald's Plunderphonics." Leonardo Music Journal 7 (1997): 17-25. Print.

Hoogerwerf, Frank. "Cage Contra Stravinsky, or Delineating the Aleatory Aesthetic." International Review of the Aesthetics and Sociology of Music 7.2 (1976): 235-47. Print.

Husarik, Stephen. "John Cage and Lejaren Hiller: Hpschd, 1969." American Music 1.2 (1983): 1-21. Print.

James, Richard. "Once: Microcosm of the 1960s Musical and Multimedia Avant-Garde." American Music 5.4 (1987): 359-90. Print.

Johnston, Ben. "The Corporealism of Harry Partch." Perspectives of New Music 13.2 (1975): 85-97. Print.

Koenig, Carole. "Meredith Monk: Performer-Creator." The Drama Review 20.3 (1976): 51-66. Print.

Kostelanetz, Richard. "Modern Music Criticism and the Literate Layman." Perspectives of New Music 6.1 (1967): 119-33. Print.

---. "Text-Sound Art: A Survey." Performing Arts Journal 2.2 (1977): 61-70. Print.

---. "John Cage and Richard Kostelanetz: A Conversation About Radio." The Musical Quarterly 72.2 (1986): 216-27. Print.

---. "The Discovery of Alternative Theater: Notes on Art Performances in New York City in the 1960s and 1970s." Perspectives of New Music 27.1 (1989): 128-72. Print.

---. "Whither Avant-Garde American Radio Art?" TDR (1988-) 35.3 (1991): 7-10. Print.

Kotz, Liz. "Post-Cagean Aesthetics and the "Event" Score." October 95 (2001): 54-89. Print.

Leach, Elizabeth. "Vicars of 'Wannabe': Authenticity and the Spice Girls." Popular Music 20.2 (2001): 143-67. Print.

Loarie, Philip. "A Statement of Methodology Concerning Electronic Music Instruments." Computer Music Journal 6.4 (1982): 7-8. Print.

Lucier, Alvin, and Arthur Margolin. "Conversation with Alvin Lucier." Perspectives of New Music 20.1/2 (1982): 50-58. Print.

Marclay, Christian. "Christian Marclay: Interview by Jason Goss." Perfect Sound Forever (1998). Print.

Moore, Allan. "Authenticity as Authentication." Popular Music 21.2 (2002): 209-23. Print.

Neill, Ben. "Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music." Leonardo Music Journal 12 (2002): 3-6. Print.

Nyman, Michael. Experimental Music: Cage and Beyond. 2nd ed. Cambridge: Cambridge University Press, 1999. Print.

O'Grady, Terence. "Aesthetic Value in Indeterminate Music." The Musical Quarterly 67.3 (1981): 366-81. Print.

Ostertag, Bob. "Human Bodies, Computer Music." Leonardo Music Journal 12 (2002): 11-14. Print.

Reynolds, Roger. "Indeterminacy: Some Considerations." Perspectives of New Music 4.1 (1965): 136-40. Print.

Reynolds, Roger, and John Cage. "John Cage and Roger Reynolds: A Conversation." The Musical Quarterly 65.4 (1979): 573-94. Print.

Robinson, Julia. "The Sculpture of Indeterminacy: Alison Knowles's Beans and Variations." Art Journal 63.4 (2004): 96-115. Print.

Rosenboom, David. "A Program for the Development of Performance-Oriented Electronic Music Instrumentation in the Coming Decades: "What You Conceive Is What You Get"." Perspectives of New Music 25.1/2 (1987): 569-83. Print.

S, Traber, Daniel. "Recentering the Listener in Deconstructive Music." CR: The New Centennial Review 7.1 (2007): 165-80. Print.

Sabatini, Arthur J. "Robert Ashley: Defining American Opera." PAJ: A Journal of Performance and Art 27.2 (2005): 45-60. Print..

Salzman, Eric. "Some Notes on the Origins of New Music-Theater." Theater 30.2 (2000): 9-23. Print.

Sathishkumark. "Musicians on Television: Visible, Audible and Ignored." Journal of the Royal Musical Association (2006): 1-22. Print.

Scanner. "Remembering How to Forget: An Artist's Exploration of Sound." Leonardo Music Journal 11 (2001): 65-69. Print.

Schloss, W. Andrew. "Using Contemporary Technology in Live Performance: The Dilemma of the Performer." Journal of New Music Research 32.3 (2003): 239-42. Print.

Schmitt, Natalie. "John Cage in a New Key." Perspectives of New Music 20.1/2 (1982): 99-103. Print.

Schöning, Klaus, and Mark Cory. "The Contours of Acoustic Art." Theatre Journal 43.3 (1991): 307-24. Print.

Schwartz, Elliott. "Electronic Music: A Thirty-Year Retrospective." Music Educators Journal 64.7 (1978): 36-41. Print.

Small, Chris. "Musicking- a Ritual in Social Space." (1995): 1-12. Print.

Smith, Geoff. "Composing after Cage. Permission Granted." The Musical Times 139.1864 (1998): 5-8. Print.

Somma, Robert. "Rock Theatricality." The Drama Review 14.1 (1969): 128-38. Print.

Tone, Yasunao. "John Cage and Recording." Leonardo Music Journal 13 (2003): 11-15. Print.

Walser, Robert. "Eruptions: Heavy Metal Appropriations of Classical Virtuosity." Popular Music 11.3 (1992): 263-308. Print.

Weinland, John. "An Electronic Music Primer." Journal of Music Theory 13.2 (1969): 250-75. Print.

Wolff, Christian, and David Patterson. "Cage and Beyond: An Annotated Interview with Christian Wolff." Perspectives of New Music 32.2 (1994): 54-87. Print.