Perspectives of New Music (1962-)

Language(s): English

Vol. 1, No. 1. 1962
  • Stockhausen, Karlheinz (1962). The Concept of Unity in Electronic Music.

    Perspectives of New Music, Vol. 1, No 1. Princeton: Princeton University Press: 39-48.

Vol. 4, No. 2. 1966
  • Howe, Hubert S. (1966). Music and Electronics: A Report.

    Perspectives of New Music: Vol. 4, No. 2. Princeton: Princeton University Press: 68-75.

Vol. 5, No. 1. 1966
  • Varèse, Edgard (1966). The Liberation of Sound.

    Perspectives of New Music: Vol. 5, No. 1. Princeton: Princeton University Press: 11-19.

Vol. 6, No. 2. 1967
  • Fennely, Brian (1967). A Descriptive Language for the Analysis of Electronic Music.

    Perspective of New Music, Vol. 6, No. 2. Princeton: Princeton University Press: 79-95.

Vol. 7, No. 1. 1968
  • Cross, Lowell (1968). Electronic Music, 1948-1953.

    Perspectives of New Music: Vol. 7, No. 1. Princeton: Princeton University Press: 32-65.

Vol. 8, No. 1. 1969
  • Appleton, Jon H. (1969). Re-evaluating the Principle of Expectation in Electronic Music.

    Perspectives of New Music: Vol. 8, No. 1. Princeton: Princeton University Press: 106-111.

Vol. 10, No. 2. 1972
  • Howe, Hubert S. (1972). Compositional Limitations of Electronic Music Synthesizers.

    Perspectives of New Music: Vol. 10, No. 2. Princeton: Princeton University Press: 120-129.

Vol. 19, No. 2. 1981
  • Loy, Gareth (1981). The Composer Seduced into Programming.

    Perspectives of New Music: Vol. 19, No. 2. Princeton: Princeton University Press: 184-198.

  • Moore, F. Richard (1981). The Futures of Music.

    Perspectives of New Music: Vol. 19, No. 2. Princeton: Princeton University Press: 212-226.

Vol. 22, No. 1. 1984.
  • DOATI, Roberto (1984). Symmetry, Regularity, Direction, Velocity.

    Perspective of New Music: Vol. 38, No 1. Princeton: Princeton University Press.

Vol. 25, No. 1-2. 1987
  • Xenakis, Iannis (1987). Xenakis on Xenakis.

    Perspectives of New Music: Vol. 25, No. 1-2. Princeton: Princeton University Press: 16-62.

Vol. 28, No. 1. 1990
  • Code, David Loberg (1990). Observations in the Art of Speech: Paul Lansky’s Six Fantasies.

    Perspectives of New Music: Vol. 28, No. 1: Princeton: Princeton University Press: 144-169.

Vol. 28, No. 2. 1990
  • Lansky, Paul (1990). A View From the Bus: When Machines Make Music.

    Perspectives of New Music: Vol. 28, No. 2: Princeton: Princeton University Press: 102-110.

  • François, Jean-Charles (1990). Fixed Timbre, Dynamic Timbre.

    Perspectives of New Music: Vol. 28, No. 2: Princeton: Princeton University Press: 112-118.

  • Truax, Barry (1990). Composing with Real-time Granular Sound.

    Perspectives of New Music: Vol. 28, No. 2: Princeton: Princeton University Press: 120-134.

Vol. 31, No. 1. 1993 Vol. 32, No. 1. 1994.
  • Truax, Barry (1994). The Inner and Outer Complexity of Music.

    Perspectives of New Music: Vol. 32, No. 1. Seattle, WA: Perspectives of New Music: 176-193.

Vol. 33, Nos. 1-2. 1995
  • Burt, Warren (1995). Listening to the Ten Tape Pieces by Kenneth Gaburo.

    Perspectives of New Music, Vol. 33, No 1-2. Princeton: Princeton University Press: 148-161.

  • Di Scipio, Agostino (1995c). On Different Approaches to Computer Music as Different Models of Compositional Design.

    Perspectives of New Music, Vol. 33, No 1-2. Princeton: Princeton University Press: 360-402.

  • Dellaira, Michael (1995). Some Recorded Thoughts on Recorded Objects.

    Perspectives of New Music: Vol. 33, No. 1-2: Princeton: Princeton University Press: 192-207.

Vol. 34, No. 1. 1996
  • Stockhausen, Karlheinz (1996). Electroacoustic Performance Practice.

    Perspectives of New Music, Vol. 34, No 1. Princeton: Princeton University Press: 74-105.

Vol. 34, No. 2. 1996
  • Perry, Jeffrey (1996). The Inner Voices of Simple Things: A Conversation with Paul Lansky.

    Perspectives of New Music: Vol. 34, No. 2: Princeton: Princeton University Press: 40-60.

Vol. 36, No. 1. 1998
  • Ungeheuer, Elena, Decroupet, Pascal (1998). Through the Sensory Looking-glass: the Aesthetic and Serial Foundations of Gesang des Jünglinge.

    Perspectives of New Music, Vol. 36, No 1. Princeton: Princeton University Press: 97-142.

  • Clarke, Michael (1998). Extending Contacts: the Concept of Unity in Computer Music.

    Perspectives of New Music, Vol. 36, No 1. Princeton: Princeton University Press: 221-246.

Vol. 36, No. 2. 1998
  • Di Scipio, Agostino (1998). Compositional Models in Xenakis’s Electroacoustic Music.

    Perspectives of New Music, Vol. 36, No 2. Princeton: Princeton University Press: 201-243.

Vol. 38, No. 1. 2000
  • McCartney, Andra (2000b). Hildegard Westerkamp’s Moments of Laughter: Recording Childhood, Performing Motherhood, Refusing to Shup Up, and Laughing.

    Perspective of New Music, Vol. 38, No 1. Princeton: Princeton University Press: 101-128.

Vol. 39, No. 1. 2001
  • Solomos, Makis (2001). The Unity of Xenakis’s Instrumental and Electroacoustic Music: the Case for “Brownian Movements”.

    Perspectives of New Music, Vol. 39, No 1. Princeton: Princeton University Press: 244-254.

Vol. 39, No. 2. 2001
  • Sterken, Sven (2001). Towards a Space-Time Art: Iannis Xenakis’s Polytopes.

    Perspectives of New Music, Vol. 39, No 2. Princeton: Princeton University Press: 262- 273.

Vol. 40, No. 1. 2002.
  • Hamman, Michael (2002). From Technical to Technological: The Imperative of Technology in Experimental Music Composition.

    Perspectives of New Music: Vol. 40, No. 1: Princeton: Princeton University Press: 92-120.

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