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For Further Reading
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109 for further reading A reader most often encounters references to Christian Wolff in works about John Cage. The catalog of such works is relatively vast, too much so to recapitulate here. We’ve noted below a few items either more particular to Wolff or more general about his colleagues and their techniques. Cues (see in the By Wolff section) anthologizes all of the best published material by Wolff through 1998. Changing the System (see in the About Wolff section) contains important articles by nine scholars as well as the most complete (and annotated) Wolff worklist through the early 2000s. By Wolff Cues: Writings and Conversations. 1998. Köln, Germany: MusikTexte. “Music—Experiment—Education.” 2005. Sonus 26, no. 1 (Fall): 18–36. “Experimental Music around 1950 and Some Consequences and Causes (Social-Political and Musical).” 2009. American Music 27 (Winter): 424–40. “Crossings of Experimental Music and Greek Tragedy.” 2010. In Peter Brown and Suzana Ograjensek, eds., Ancient Drama in Music for the Modern Stage. New York: Oxford. Interviews with Wolff Duckworth,William. 1995. Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers. New York: Schirmer Books. A Chance Encounter with Christian Wolff: Friday, January 11, 2002, 4:33 PM at the Greenwich House Music School (NewYork, NY). 2002. Interview with Frank J. Oteri, 11 January, www .newmusicbox.org/35/interview_wolff.pdf (accessed 20 December 2011). “Christian Wolff Seminar (an excerpt).” 2003. From Ostrava Days 2003 Report at www .ocnmh.cz/days2003_lectures_wolff.htm (accessed 20 December 2011). 110 About Wolff Chase, Stephen, and Philip Thomas, eds. 2010. Changing the System: The Music of Christian Wolff. Surrey, U.K.: Ashgate. On the New York School Johnson, Steven, ed. 2001. The New York Schools of Music and the Visual Arts. New York: Routledge. Gresser, Clemens. 2004.“(Re-)Defining the Relationships between Composer, Performer and Listener: Earle Brown, John Cage, Morton Feldman and Christian Wolff.” PhD dissertation, University of Southampton. Brown, Carolyn. 2007. Chance and Circumstance: Twenty Years with Cage and Cunningham. New York: Knopf. On Indeterminacy and Experimental Music Behrman, David. 1965. “What Indeterminate Notation Determines.” Perspectives of New Music 3, no. 2 (Spring–Summer): 58–73. Smalley, Roger. 1969–70. “Some Aspects of the Changing Relationship between Composer and Performer in Contemporary Music.” Proceedings of the Royal Music Association 96:73–84. Holzaepfel, John. 1994. “David Tudor and the Performance of American Experimental Music 1950–1959.” PhD dissertation, City University of New York. “Improvisation, Heterophony, Politics, Composition: Panel Discussion with Christian Wolff, Larry Polansky, Kui Dong, Christian Asplund, and Michael Hicks.” 2007. Perspectives of New Music 45 (Summer): 133–49. Kim, Rebecca Y. 2008. “In No Uncertain Musical Terms: The Cultural Politics of John Cage’s Indeterminacy.” PhD dissertation, Columbia University. Tilbury, John. 2008. Cornelius Cardew (1936–1981): A Life Unfinished. Essex, U.K.: Copula. Saunders, James, ed. 2009. The Ashgate Research Companion to Experimental Music. Surrey, U.K.: Ashgate. c h r i s t i a n w o l f f | For Further Reading ...