Perspectives of New Music

In this Issue

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Jim Randall: An Autobiography

Benjamin Boretz

pp. 9-11

DOI: https://doi.org/10.1353/pnm.2014.0014

Robert Morris at 70

Benjamin Boretz, Dora Hanninen, Joshua Mailman, Wayne Slawson

pp. 14-16

DOI: https://doi.org/10.1353/pnm.2014.0007

Liner Notes in the Form of a Suite

Elaine R. Barkin

pp. 17-25

DOI: https://doi.org/10.1353/pnm.2014.0019

a poem for Bob Morris at 70 to be spoken into the resonant space of

Dorota Czerner

pp. 26-30

DOI: https://doi.org/10.1353/pnm.2014.0026

("...the sun poured molten glass on the fields...") piano music for Bob Morris at 70

Benjamin Boretz

pp. 31-41

DOI: https://doi.org/10.1353/pnm.2014.0031

On Robert Morris's Refrains

Brian Alegant

pp. 42-65

DOI: https://doi.org/10.1353/pnm.2014.0021

Nature and Composition in Robert Morris's Indoor Music: On strange flowers, occasional storms

Dora A. Hanninen

pp. 66-85

DOI: https://doi.org/10.1353/pnm.2014.0012

Curious Music in the Great Outdoors: Robert Morris's Coming Down to Earth in Webster Park

Joshua B. Mailman

pp. 86-90

DOI: https://doi.org/10.1353/pnm.2014.0023

Cultivating an Air: Natural Imagery and Music Making

Andrew Mead

pp. 91-118

DOI: https://doi.org/10.1353/pnm.2014.0009

Interview with the JACK Quartet

John Pickford Richards, Ari Streisfeld, Christopher Otto, Kevin McFarland, Joshua B. Mailman

pp. 119-153

DOI: https://doi.org/10.1353/pnm.2014.0025

Robert Morris and the Concept of Melharmony

Chitravina N. Ravikiran

pp. 154-161

DOI: https://doi.org/10.1353/pnm.2014.0038

An Analytical Example for Bob

Joseph N. Straus

pp. 162-168

DOI: https://doi.org/10.1353/pnm.2014.0028

Compositional Explorations of Robert Morris's All-Hexachord Chains: Implications and Contexts

Bruce Quaglia

pp. 169-193

DOI: https://doi.org/10.1353/pnm.2014.0040

Time's "Suchness" in Robert Morris's Clear Sounds

Daphne Leong

pp. 195-225

DOI: https://doi.org/10.1353/pnm.2014.0033

Poset-ting the Phronetic: Coming to Rowing Terms in Robert Morris's Doubles and Pairs

David Henning Plylar

pp. 226-248

DOI: https://doi.org/10.1353/pnm.2014.0036

Trajectory, Material, Process, and Flow in Robert Morris's String Quartet Arc

Joshua B. Mailman

pp. 249-283

DOI: https://doi.org/10.1353/pnm.2014.0010

Calligraphy, Changes, Autonomy

Robert Morris

pp. 284-296

DOI: https://doi.org/10.1353/pnm.2014.0037

Sonata No. 5 for Solo Violin

Andrew Mead

pp. 297-315

DOI: https://doi.org/10.1353/pnm.2014.0008

Robert Morris and the Missing Middle

Christopher Shultis

pp. 316-324

DOI: https://doi.org/10.1353/pnm.2014.0039

The Interpretation of a Musical Language from the Perspective of a Compositional Unit

Ciro Scotto

pp. 325-344

DOI: https://doi.org/10.1353/pnm.2014.0034

Differing Evocations of Buddhism in Two Works by Robert Morris and John Cage

Rob Haskins

pp. 345-358

DOI: https://doi.org/10.1353/pnm.2014.0015

To Know Robert Morris's MA

Wayne Slawson

pp. 359-372

DOI: https://doi.org/10.1353/pnm.2014.0017

Some Words of Thanks