Project MUSE - Perspectives of New Music-Volume 57, Number 1-2, Winter 2019

Interludes

Various

DOI: https://doi.org/10.1353/pnm.2019.0015

Introduction

Chris Stover

pp. 7-10

DOI: https://doi.org/10.1353/pnm.2019.0003

Nadasonata

Robert Morris

pp. 11-23

DOI: https://doi.org/10.1353/pnm.2019.0012

Rethinking Repetition: Interrogating Schoenberg's Writings

Áine Heneghan

pp. 25-74

DOI: https://doi.org/10.1353/pnm.2019.0006

Variation/Variarions: What Schoenberg's Approach to Formenlehre Can Reveal about His Musical Language(s)

Andrew Mead

pp. 75-116

DOI: https://doi.org/10.1353/pnm.2019.0010

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Old School: Some Analytical Notes on Schoenberg, Five Pieces for Orchestra, Op. 16 No. 2 ("Vergangenes")

Jonathan W. Bernard

pp. 117-135

DOI: https://doi.org/10.1353/pnm.2019.0029

Musical Backstories In Honor of John Rahn

Lynne Rogers

pp. 137-147

DOI: https://doi.org/10.1353/pnm.2019.0004

When Composers Draw: Personalized Music, Formalized Thought

Elizabeth Hoffman

pp. 149-190

DOI: https://doi.org/10.1353/pnm.2019.0008

(In His Own Words): The Poetry of John Rahn's Sea of Souls

Tom Baker

pp. 191-201

DOI: https://doi.org/10.1353/pnm.2019.0017

Fractures: Kali 1986

Elaine R. Barkin

pp. 203-210

DOI: https://doi.org/10.1353/pnm.2019.0027

The Frame and The Swerve: Music Video's Relationship to Dance

Brad Osborn

pp. 211-221

DOI: https://doi.org/10.1353/pnm.2019.0026

On the Swerve and the Flow in Thomas Adès's Polaris, op. 29

Orit Hilewicz

pp. 223-242

DOI: https://doi.org/10.1353/pnm.2019.0007

Seminar Reflections

Gary W. Don

pp. 243-249

DOI: https://doi.org/10.1353/pnm.2019.0011

A Question, A Rose: for violin alone

Benjamin Boretz

pp. 251-254

DOI: https://doi.org/10.1353/pnm.2019.0018

Deterritorialize Yourself! (Four Meta-Musical Vignettes for John Rahn)

Chris Stover

pp. 255-285

DOI: https://doi.org/10.1353/pnm.2019.0025

Compositional Qualia in the Princeton School

Scott Gleason

pp. 287-323

DOI: https://doi.org/10.1353/pnm.2019.0021

Translator's Introduction: Jacques Rancière, "Autonomy and Historicism: The False Alternative"

Patrick Nickleson

pp. 325-327

DOI: https://doi.org/10.1353/pnm.2019.0028

Autonomy and Historicism: The False Alternative (On the Regimes of Historicity of Art)

Jacques Rancière, Patrick Nickleson

pp. 329-351

DOI: https://doi.org/10.1353/pnm.2019.0014

This Is the Piece

Christian Asplund

pp. 353-374

DOI: https://doi.org/10.1353/pnm.2019.0020

Logic-Programming Models of Music: A Semiotic Evaluation

John Roeder

pp. 375-402

DOI: https://doi.org/10.1353/pnm.2019.0019

Wreaths for Rahn, and Valuable Exchanges

Jason Yust

pp. 403-429

DOI: https://doi.org/10.1353/pnm.2019.0013

Consciousness, Creativity, and Complex Time in Music

Guerino Mazzola

pp. 431-439

DOI: https://doi.org/10.1353/pnm.2019.0002

The Structure of Morphological Space

David Kant, Larry Polansky

pp. 441-498

DOI: https://doi.org/10.1353/pnm.2019.0022

Tiling Six-Part Double Canons on Trichords

Luigi Verdi, Deborah Burton

pp. 499-577

DOI: https://doi.org/10.1353/pnm.2019.0000

How Du You Compose Yourself?

Carlton Gamer

pp. 579-590

DOI: https://doi.org/10.1353/pnm.2019.0024

Afterword

John Rahn

p. 592

DOI: https://doi.org/10.1353/pnm.2019.0005

Personae

pp. 599-603

DOI: https://doi.org/10.1353/pnm.2019.0023

Acknowledgments

p. 604

DOI: https://doi.org/10.1353/pnm.2019.0001

ISSN	2325-7180
Print ISSN	0031-6016
Launched on MUSE	2021-01-01
Open Access	No

Perspectives of New Music

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