...C. Catherine Losada This article examines the transfer between precompositional material and score in Pierre Boulez’s Domaines . It demonstrates how this stage of the compositional process and the gestural content of the work derive from and are linked to Boulez’s innovative serial and derivational...

...Joseph Salem Joseph Salem is completing a Ph.D. on Pierre Boulez at Yale University. His research investigates the creative process through the analysis of musical manuscripts and contemporaneous writings, as well as the influence of musical form, media, and social function...

... and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann .” Music Theory Spectrum 31/1 : 57 – 100 . ———. 2013 . “ Between Freedom and Control: Composing-Out, Common Subsets, and Structure in an Open Work by Boulez .” Paper presented at the annual meeting...

... . New York : New Directions . Boulez Pierre . [ 1952 ] 1991 . `` Schoenberg Is Dead .'' Reprinted in Stocktakings from an Apprenticeship , ed. Thévenin Paul , trans. Walsh Stephen , 209 – 15 . Oxford : Clarendon . Cavell Stanley . 1969 . `` Music Discomposed...

... 1975; Hicks 1982). Owing to its size and notoriety, quoting the score at length is neither practical nor particularly useful. The next best thing will be Berio’s own program note, written for the 1986 Erato recording, conducted by Pierre Boulez: The third part of Sinfonia calls for more...

... her doctorate at the University of Oxford, and has held teaching positions at Oxford, Cambridge, and the Royal Academy of Music. Her research interests include Schoenberg, Boulez, and Cage, nineteenth-century song, and performance studies. She is also a professional mezzo-soprano, having trained...

... title) is surprising in a work so given to dialectics and pluralism. Cross scarcely needs to supply evidence for the claim that Stravinsky’s influence has been pervasive: the string of adulatory quotations from Boulez, Tippett, Carter, Birtwistle, Tavener, and Andriessen on p. 6 is gratuitous. What...

... Schütz and Monteverdi, through Bach, Haydn and Bee- thoven and on to Webern, Wolpe, Boulez, Babbitt and others offers him the chance to illustrate the consequences of his approach over a gratify- ingly wide time-scale. As he notes, “it is a general feature of analysis that musical process tends...

... . Morgan Robert P. 2008 . “ Chopin’s Modular Forms .” In Variations on the Canon: Essays on Music from Bach to Boulez in Honor of Charles Rosen on His Eightieth Birthday , edited by Curry Robert Gable David Marshall Robert , 185 – 204 . Rochester NY : University of Rochester Press...

... analogous symmetries in his non-retrogradeable rhythms. Similarly, Boulez draws the distinction be- tween “smooth” versus “striated” varieties of space (for pitches) and time (for durations): “Pulsation is for striated time what temperament is for striated space; it has been shown that, depending...

...Mark McFarland 2004 © Yale University, New Haven, Connecticut 06520 2004 Barraqué, Jean. 1954 . “Rhythme et développement.” Polyphonie 3/1-2 : 52 -58. Boulez, Pierre. 1968 . “Stravinsky Remains.” In Notes of an Apprenticeship , trans. Herbert Weinstock, 72 -145. New York...

... Theorie der informellen Musik . Laaber : Laaber-Verlag . Born Georgina . 1995 . Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Avant-Garde . Berkeley : University of California Press . ———. 2000 . “ Introduction: On Difference, Representation...

..., Jack. “Schoenberg's Op. 22 Radio Talk and Developing Variation in Atonal Music.” Music Theory Spectrum 14/2 ( 1992 ): 125 -49. ____. “Schoenberg on Ornamentation and Structural Levels.” Journal of Music Theory 38/2 ( 1994 ): 187 -216. Boulez, Pierre. “Arnold Schoenberg...

... Boulez. 2. What is the modern ontology of the musical work? If, broadly speaking, modernism marks aesthetic movements that challenge the ontological definitions of what music is, any prescriptive measure intended to shore up a proper version...

... and well into the postwar period. Pierre Boulez, for instance, the preeminent spokesperson for postwar modernism, continues to echo Fétis, even into the twenty-first century, when he says, “The tonal system has gone through a kind of historical evolution, and you cannot go back. That's impossible” (Here...

... artistic categories. (Cavell mentions that he is drawn in this way by Anthony Caro’s sculpture but not by pop art or Karlheinz Stockhausen; I am similarly drawn by Steve Reich’s Piano Phase but not by Pierre Boulez’s Structures Ia, even...

... undifferen- tiated textures, as in certain strains of minimalism or modernism. (Such works can be read against the grain, though, as in Hatten s remarks on agency in Pierre Boulez s Structures [220 21 Across levels, virtual agents are always embedded in some context; they emerge as figures against some...

... . Rumph Stephen . 2004 . Beethoven after Napoleon . Berkeley : University of California Press . Toop Richard . 1974 . `` Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez .'' Perspectives of New Music 13 / 2 : 141 – 69 . ———. 1979 . `` Stockhausen and the Sine-Wave: The Story...

..., and it seems to me that it is in this latter context that an explicit awareness of the body s doings in response to sound can have the greatest impact on interpretation and appreciation. In truth, I myself have at times struggled to convince under- graduate students of the aesthetic value of Pierre Boulez...

...”; “Urlinie”; “Ursatz”; “Zug” Anyone who keeps an ear to the disciplinary ground has heard it said: to paraphrase Pierre Boulez, Schenker est mort. Those inclined to believe 204 ...