Essays / Jonathan Service, "Chinese Music Theory"
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Chapter 1. Introduction
Laurel Parsons and Brenda Ravenscroft
Order, Freedom and Design
Chapter 2. Ursula Mamlok, Panta Rhei, Third Movement (1981)
"Twelve Tone in My Own Way": An Analytical Study of Ursula Mamlok's Panta Rhei, Third Movement, with Some Reflections on Twelve-Tone Music in America
Joseph N. Straus
Chapter 3. Norma Beecroft, Improvvisazioni Concertanti No. 1 (1961)
Improvvisazioni Concertanti No. 1 by Norma Beecroft: Serialism, Improvisatory Discourse, and the Musical Avant-Garde
Chapter 4. Joan Tower, Silver Ladders (1986)
"Octatonicism," the Octatonic Scale, and Large- Scale Structure in Joan Tower's Silver Ladders
Jonathan W. Bernard
Gesture, Identity and Culture
Chapter 5. Sofia Gubaidulina, String Quartet No. 2 (1987)
"Difference Inhabits Repetition": Sofia Gubaidulina's String Quartet No. 2
Chapter 6. Chen Yi, Symphony No. 2 (1993)
The Transformative Power of Musical Gestures: Cultural Translation in Chen Yi's Symphony No. 2
Nancy Yunhwa Rao
Music, Words and Voices
Chapter 7. Kaija Saariaho, "The claw of the magnolia..." From the Grammar of Dreams (1988)
Superposition in Kaija Saariaho's "The claw of the magnolia..."
Chapter 8. Libby Larsen, Chanting to Paradise (1997)
Music as a Mirror: Libby Larsen's Chanting to Paradise
Chapter 9. Elisabeth Lutyens, Essence of Our Happinesses (1968)
This Imaginary Halfe-Nothing: Temporality in Elisabeth Lutyens's Essence of Our Happinesses
Essay about Music Theory - 1434 Words - StudyMode
Journal of Music Theory | Duke University Press
Impressionism released the chord from its function in regard to the movement and goal of the music. Chords could be freely altered. Chords no longer required preparation or resolution in conventional harmonic patterns. Writers describe this as the "emancipation of sound." Harmonic patterns were free to move in non-traditional manners. This blurring of traditional tonal progressions may be analogous to the Impressionist painters' technique of avoiding hard edges and sudden, sharp contrasts.
Journal of Music Theory 52:2 (52:2) • Essays in Honor of ..
"There is no theory. You have only to listen. Pleasure is the law. I love music passionately. And because l love it, I try to free it from barren traditions that stifle it. It is a free art gushing forth, an open-air art boundless as the elements, the wind, the sky, the sea. It must never be shut in and become an academic art."