Project MUSE®: Perspectives of New Music - Latest Articles
https://muse.jhu.edu/journal/774
Project MUSE®: Latest articles in Perspectives of New Music.daily12026-05-18T00:00:00-05:00text/htmlen-USVol. 49 (2011) through current issueLatest Articles: Perspectives of New MusicTWOProject MUSE®Perspectives of New Music2325-71800031-6016Latest articles in Perspectives of New Music. Feed provided by Project MUSE®Explorations and Inventions in Trichord-Derived and Tetrachord-Derived 12-Tone Modalities: Music, Methods, and Theory
https://muse.jhu.edu/article/966470
<p></p>
For decades, from time to time, I have found myself interested in Schoenberg’s method of 12-tone serial composition, and more than once I have attempted to create music that would resonate within me. I am not alone in these sorts of undertakings. Like many, I am interested in 12-tone polyphony and in finding ways to integrate aspects of melody and harmony into a meaningful and aesthetically satisfying 12-tone composition.The principal obstacle for me has been my insistence on finding enjoyment in the music I create. While I have cultivated a taste for dissonance, my ear and mind want to hear dissonance within the context of a comprehensible musical system characterized by directed melodic and harmonic motion toward
... <a href="https://muse.jhu.edu/article/966475">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/774/image/coversmallExplorations and Inventions in Trichord-Derived and Tetrachord-Derived 12-Tone Modalities: Music, Methods, and Theory2025-08-07text/htmlen-USExplorations and Inventions in Trichord-Derived and Tetrachord-Derived 12-Tone Modalities: Music, Methods, and Theory2025-08-072025TWOProject MUSE®835842026-05-18T00:00:00-05:002025-08-07Luciano Berio’s Compositional Poetics as Performance: Continuo for Orchestra and Ekphrasis (Continuo II)
https://muse.jhu.edu/article/966471
<p></p>
One of the first examples in Umberto Eco’s influential essay “The Poetics of the Open Work” is Luciano Berio’s Sequenza I for solo flute from 1958. In the Sequenza the score provides information on pitch height and intensity as well as rhythmic proportions, but specific durations within the given framework are left open to performers.1 Sequenza I thus became an exemplar for “works in movement,” a category of musical and literary works that present an especially broad field of interpretive possibilities to performers, listeners, and readers (Eco 1989, 12). However in 1992 Berio composed a “closed” version of the Sequenza using traditional notation, restricting the freedoms given to performers. A few years before
... <a href="https://muse.jhu.edu/article/966475">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/774/image/coversmallLuciano Berio’s Compositional Poetics as Performance: Continuo for Orchestra and Ekphrasis (Continuo II)2025-08-07text/htmlen-USLuciano Berio’s Compositional Poetics as Performance: Continuo for Orchestra and Ekphrasis (Continuo II)2025-08-072025TWOProject MUSE®1079202026-05-18T00:00:00-05:002025-08-07Concert for Smartphone Network: A Telematic Hocket with a Digital Ensemble
https://muse.jhu.edu/article/966472
<p></p>
The act of making music in a group setting can have several social, emotional, and cognitive benefits. Namely, playing music in a group fosters social interaction and a sense of community. It provides an opportunity for people to connect with others who share a common interest in music. Music is a form of creative expression (Cahn 2016) and playing together allows individuals to contribute their unique ideas and interpretations to create a collective musical experience. Music is a powerful medium for personal and interpersonal well-being (Yap 2017; Overy 2012). Playing music together allows the performers to convey and share emotions, creating a unique and immersive experience for both the performers and the
... <a href="https://muse.jhu.edu/article/966475">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/774/image/coversmallConcert for Smartphone Network: A Telematic Hocket with a Digital Ensemble2025-08-07text/htmlen-USConcert for Smartphone Network: A Telematic Hocket with a Digital Ensemble2025-08-072025TWOProject MUSE®478282026-05-18T00:00:00-05:002025-08-07Rules and Representations in a Generative Syntax of Tonal Harmony
https://muse.jhu.edu/article/966473
<p></p>
Attempts to develop models of musical syntax have a long and venerable history in music scholarship. Such attempts have often been influenced by models of linguistic syntax, too, especially generative ones, given the equally venerable tradition of comparing music and language from a generative perspective (as seen most famously in Lerdahl and Jackendoff [1983]). However, current work in generative linguistics offers several points of instruction, and also some words of warning, for such models of syntax—but which do not seem to have been implemented to any great extent in extant generative models of musical structure. Therefore, in this essay, I review some such recent linguistic proposals, and how they might be
... <a href="https://muse.jhu.edu/article/966475">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/774/image/coversmallRules and Representations in a Generative Syntax of Tonal Harmony2025-08-07text/htmlen-USRules and Representations in a Generative Syntax of Tonal Harmony2025-08-072025TWOProject MUSE®1681042026-05-18T00:00:00-05:002025-08-07The Rhythmic Tapestry: Weaving Together North Indian and Western Counting Systems for Music
https://muse.jhu.edu/article/966474
<p></p>
Music acts as a common language that promotes cross-cultural understanding through structured sound. Systems for measuring and structuring rhythms are used in all musical traditions to produce pieces that make sense. Beat and meter have been approached in complex and methodical ways in both Indian and Western classical music. Nonetheless, there are differences in their counting techniques because they emerged from different cultural backgrounds over millennia. In this essay, the parallels between Western and North Indian (Hindustani) numbering systems and rhythms are examined. In order to produce beautiful musical compositions, it attempts to demonstrate how North Indian and Western rhythms can be blended. Despite
... <a href="https://muse.jhu.edu/article/966475">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/774/image/coversmallThe Rhythmic Tapestry: Weaving Together North Indian and Western Counting Systems for Music2025-08-07text/htmlen-USThe Rhythmic Tapestry: Weaving Together North Indian and Western Counting Systems for Music2025-08-072025TWOProject MUSE®1098272026-05-18T00:00:00-05:002025-08-07Personae
https://muse.jhu.edu/article/966475
<p></p>
ORIT HILEWICZ is assistant professor of music theory at Jacobs School of Music in Indiana University. Her work explores intertextuality and metaphor in post-tonal compositions. Her publications, which appear in Music Theory Online and Perspectives of New Music, among other journals, propose strategies for listening, observing, and analyzing cross-modal relationships between post-tonal music and the visual and cinematic arts.Music theorist, composer, and performer STEPHEN HOPKINS teaches music theory and serves as coordinator of online general education in the Penn State University School of Music. He has authored four online general education music courses that now enroll 2,500 Penn State students per academic
... <a href="https://muse.jhu.edu/article/966475">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/774/image/coversmallPersonae2025-08-07text/htmlen-USPersonae2025-08-072025TWOProject MUSE®34622026-05-18T00:00:00-05:002025-08-07