Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-pftt2 Total loading time: 0 Render date: 2024-05-18T13:16:32.943Z Has data issue: false hasContentIssue false

References

Published online by Cambridge University Press:  07 March 2023

Martin Iddon
Affiliation:
University of Leeds
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbate, E. T. (2018), ‘Esoteric Origins: Theosophical Images and Influences in Webern’s Op. 29’, Journal of Musicological Research, 37:1, 3057.CrossRefGoogle Scholar
Adorno, T. W. (1950), ‘Mißverständnisse’, Melos, 17, 75–7.Google Scholar
Adorno, T. W. (1974), Einleitung in die Musiksoziologie, in Gesammelte Schriften, ed.Tiedemann, R., Frankfurt: Suhrkamp, xiv.Google Scholar
Adorno, T. W. (1975), Philosophie der neuen Musik, in Gesammelte Schriften, ed. Tiedemann, R., Frankfurt: Suhrkamp, xii.Google Scholar
Adorno, T. W. (1977), ‘Wissenschaftliche Erfahrungen in Amerika’, in Gesammelte Schriften, ed. Tiedemann, R, Frankfurt: Suhrkamp, x.ii, 702–38.Google Scholar
Adorno, T. W. (1984), ‘Anton Webern: Zur Aufführung der Fünf Orchesterstücke, op. 10 in Zürich’, in Gesammelte Schriften, ed. Tiedemann, R. and Schultz, K., Frankfurt: Suhrkamp, xviii, 513–6.Google Scholar
Adorno, T. W. (1991), Alban Berg: Master of the Smallest Link, trans. J. Brand and C. Hailey,Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Adorno, T. W. ([1961] 1992), ‘Vers une musique informelle’, in Quasi una fantasia: Essays on Modern Music, trans. R. Livingstone, London: Verso, 269322.Google Scholar
Adorno, T. W. (1997), Aesthetic Theory, trans. R. Hullot-Kentor, Minneapolis: University of Minnesota Press.Google Scholar
Adorno, T. W. ([1957] 1999a), ‘Alban Berg’, in Sound Figures, trans. R. Livingstone, Stanford, CA: Stanford University Press, 6979.Google Scholar
Adorno, T. W. ([1959] 1999b), ‘Anton von Webern’, in Sound Figures, trans. R. Livingstone, Stanford, CA: Stanford University Press, 91105.CrossRefGoogle Scholar
Adorno, T. W. ([1957] 1999c), ‘Criteria of New Music’, in Sound Figures, trans. R. Livingstone, Stanford, CA: Stanford University Press, 145–96.CrossRefGoogle Scholar
Adorno, T. W. ([1955] 2002), ‘The Aging of the New Music’, trans. R. Hullot-Kentor and F. Will, in Adorno on Music, ed. Leppert, R., Berkeley: University of California Press, 181202.CrossRefGoogle Scholar
Adorno, T. W. (2007), Negative Dialectics, trans. E. B. Ashton, New York: Continuum.Google Scholar
Adorno, T. W. ([1951] 2015), ‘Vortrag über Anton von Webern am 5. Juli 1951’, in Schwarz, M. (ed.), ‘Über Anton von Webern: Theodor W. Adorno bei den Darmstädter Ferienkursen 1951’, Musik und Ästhetik, 19:2, 5–20, at 1420.Google Scholar
Adorno, T. W. and Berg, A. (2005), Theodor W. Adorno and Alban Berg: Correspondence 1925–1935, ed. Lonitz, H., trans. W. Hoban, Cambridge: Polity.Google Scholar
Aerts, H. (2000), TRANSIT Leuven New Music Festival [Programme].Google Scholar
Ahrend, T. (2017), ‘“ … einen Roman durch eine einzige Geste … ausdrücken … ”: Affekt- und Kristallklänge bei Anton Webern’, Musiktheorie, 31:1, 2141.Google Scholar
Ahrend, T. (2018), ‘Anton Webern’, in Heister, H.-W. and Sparrer, W.-W. (eds.), Komponisten der Gegenwart, Munich: text + kritik, 149.Google Scholar
Aksiuk, S. (1961), ‘Razvorachivaisia v marshe, muzyka!’, Sovetskaia kul’tura, 4 November, 3.Google Scholar
Alegant, B. (2010), The Twelve-Tone Music of Luigi Dallapiccola, Rochester, NY: University of Rochester Press.CrossRefGoogle Scholar
Andrusik, S. (2017), ‘Kompozitor Vitalii Godziatskii: V 1960-kh my iskali fizikov – tol’ko oni nas i ponimali’, Ukraïns’ka Pravda, 30 March, https://life.pravda.com.ua/culture/2017/03/30/223452/.Google Scholar
Ansari, E. A. (2018), The Sound of a Superpower: Musical Americanism and the Cold War, New York: Oxford University Press.CrossRefGoogle Scholar
Asai, Y. (2021), Anton Webern: Komponieren als Problemstellung, Stuttgart: Franz Steiner.CrossRefGoogle Scholar
Ashby, A. (1995), ‘Of Modell-Typen and Reihenformen: Berg, Schoenberg, F. H. Klein, and the Concept of Row Derivation’, Journal of the American Musicological Society, 48:1, 67105.CrossRefGoogle Scholar
Ashby, A. (2001), ‘Schoenberg, Boulez, and Twelve-Tone Composition as “Ideal Type”’, Journal of the American Musicological Society, 54:3, 585625.CrossRefGoogle Scholar
Ashby, A. (2002), ‘Reading Berg’, Music Analysis, 21:3, 383415.CrossRefGoogle Scholar
Assis, G. O. A. (2016), ‘Structure and Exception: Evaluating the Concept of Einschub in Stockhausen’s Compositional Process’, in Grant, M. J. and Misch, I. (eds.), The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward, Hofheim: Wolke, 7989.Google Scholar
Astor, M. (2008), ‘Los Ojos de Sojo: El Conflicto entre Nacionalismo y Modernidad en los Festivales de Música de Caracas (1954–1966)’, PhD thesis, Universidad Central de Venezuela.Google Scholar
Auner, J. (1999), ‘The Second Viennese School as a Historical Concept’, in Simms, B. (ed.), Schoenberg, Berg, and Webern: A Companion to the Second Viennese School, Westport: Greenwood, 136.Google Scholar
Babadzhanian, A. (1965), Chetyre p’esy; Tokkata; Shest’ kartin, Mezhdunarodnaia kniga LP, D1560-15602.Google Scholar
Babbitt, M. (1955), ‘Some Aspects of Twelve-Tone Composition’, The Score, 12, 5361.Google Scholar
Babbitt, M. (1958), ‘Who Cares If You Listen?’, High Fidelity, 8:2, 3840.Google Scholar
Babbitt, M. (1960), ‘Twelve-Tone Invariants as Compositional Determinants’, The Musical Quarterly, 46:2, 246–59.Google Scholar
Babbitt, M. (1961), ‘Set Structure as a Compositional Determinant’, Journal of Music Theory, 5:1, 7294.CrossRefGoogle Scholar
Babbitt, M. (1962), ‘Twelve-Tone Rhythmic Structure and the Electronic Medium’, Perspectives of New Music, 1:1, 4979.CrossRefGoogle Scholar
Babbitt, M. (1964), ‘An Introduction to the RCA Synthesizer’, Journal of Music Theory, 8:2, 251–65.Google Scholar
Babbitt, M. (1965), ‘The Revolution in Sound: Electronic Music’, Music Journal, 18:7, 34–7.Google Scholar
Babbitt, M. (1970), ‘On Relata I’, in Hines, R. S. (ed.), The Orchestral Composer’s Point of View, Norman: University of Oklahoma Press, 1138.Google Scholar
Babbitt, M. (1971), ‘Contemporary Music Composition and Music Theory as Contemporary Intellectual History’, in Brook, B. S., Downes, E. O. D., and van Solkema, S. J. (eds.), Perspectives in Musicology, New York: Norton, 151–84.Google Scholar
Babbitt, M. (1973–4), ‘Since Schoenberg’, Perspectives of New Music, 12:1–2, 328.CrossRefGoogle Scholar
Babbitt, M. (1976), ‘Responses: A First Approximation’, Perspectives of New Music, 14:2–15.1, 323.Google Scholar
Babbitt, M. (1987a), ‘Stravinsky’s Verticals and Schoenberg’s Diagonals: A Twist of Fate’, in Haimo, E. and Johnson, P. (eds.), Stravinsky’s Retrospectives, Lincoln: University of Nebraska Press, 1535.Google Scholar
Babbitt, M. (1987b), Words about Music, ed. Dembski, S. and Straus, J. N., Madison: University of Wisconsin Press.Google Scholar
Babbitt, M. (1999), ‘My Vienna Triangle at Washington Square Revisited and Dilated’, in Brinkmann, R. and Wolff, C. (eds.), Driven into Paradise: The Musical Migration from Nazi Germany to the United States, Berkeley: University of California Press, 3353.CrossRefGoogle Scholar
Babbitt, M. (2003), The Collected Essays of Milton Babbitt, ed. Peles, S., with Dembski, S., Mead, A., and Straus, J., Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar
Babcock, D. (1995), ‘Korean Composers in Profile’, Tempo, 192, 1521.CrossRefGoogle Scholar
Backus, J. (1962), ‘Die Reihe: A Scientific Evaluation’, Perspectives of New Music, 1:1, 160–71.CrossRefGoogle Scholar
Baehr, P. (2016), ‘Community of Fate’, in Ritzer, G (ed.), Blackwell Encyclopedia of Sociology, https://doi.org/10.1002/9781405165518.wbeos0728.Google Scholar
Bailey, K. (1991), The Twelve-Note Music of Anton Webern: Old Forms in a New Language, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Bailey, K. (1995), ‘Rhythm and Metre in Webern’s Late Works’, Journal of the Royal Musical Society, 20:2, 251–80.Google Scholar
Bailey, K. (1998), The Life of Webern, Cambridge: Cambridge University Press.Google Scholar
Baragwanath, N. (1999), ‘Alban Berg, Richard Wagner, and the Leitmotivs of Symmetry’, 19th-Century Music, 23:1, 6283.Google Scholar
Baragwanath, N. (2004), ‘Fin-de-Siècle Wagner: Parsifal Analysed through Berg’s Programme to Mahler’s Ninth Symphony’, Music Analysis, 23:1, 2755.CrossRefGoogle Scholar
Barraqué, J. (1962), ‘Debussy ou l’approche d’une organisation autogène de la composition’, in Weber, E. (ed.), Debussy et l’évolution de la musique au XXe siècle, Paris: CNRS, 8396.Google Scholar
Barraqué, J. (2001), ‘La mer de Debussy, ou la naissance des formes ouvertes. Essai de méthodologie comparative: la forme musicale considérée non plus comme un archétype mais comme un devenir’, in Feneyrou, L. (ed.), Jean Barraqué: Écrits, Paris: Publications de la Sorbonne, 277386.Google Scholar
Bartók, B. (1920), ‘Das Problem der neuen Musik’, Melos, 1, 107.Google Scholar
Barzun, J. (1964), Liner notes to Columbia-Princeton Electronic Music Center, Columbia Masterworks LP, ML 5966.Google Scholar
Bassetto, L. (2003), ‘Orient-Accident? Pli selon pli, ou l’“eurexcentrisme” selon Boulez’, in Albèra, P. (ed.), Pli selon pli de Pierre Boulez: Entretien et études, Geneva: Contrechamps, 3744.CrossRefGoogle Scholar
Bassetto, L. (2014), ‘Ritratto del compositore come apprendista etnologo: Pierre Boulez prima dell’incontro con André Schaeffner’, Musicalia: Annuario Internazionale di Studi Musicologici, 7, 6182.Google Scholar
Bauer-Mengelberg, S. and Ferentz, G. (1965), ‘On Eleven-Interval Twelve-Tone Rows’, Perspectives of New Music, 3:2, 93103.CrossRefGoogle Scholar
Bazayev, I. (2009), ‘Composing with Circles, Spirals, and Lines of Fifths: Harmony and Voice Leading in the Works of Nicolai Roslavets’, PhD dissertation, City University of New York.Google Scholar
Beal, A. (2000), ‘Negotiating Cultural Allies: American Music in Darmstadt, 1946–1956’, Journal of the American Musicological Society, 53:1, 105–39.Google Scholar
Becker, H. (1927), ‘Béla Bartók and his Credo’, Musical America, 17 December, 35.Google Scholar
Béhague, G. (1979), Music in Latin America: An Introduction, Englewood Cliffs: Prentice Hall.Google Scholar
Béhague, G. (2001), ‘Guarnieri, (Mozart) Camargo’, Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.11904.CrossRefGoogle Scholar
Benitez, V. (2009), ‘Reconsidering Messiaen as Serialist’, Music Analysis, 28:2–3, 267–99.CrossRefGoogle Scholar
Berg, A. ([1926] 2014), ‘Composition with Twelve Tones’, in A. Berg and B. R. Simms, Pro Mundo-Pro Domo: The Writings of Alban Berg, New York: Oxford University Press, 203–5.Google Scholar
Berg, A. and Schoenberg, A. (1987), The Berg–Schoenberg Correspondence: Selected Letters, ed. Brand, J., Hailey, C., and Harris, D., New York: W. W. Norton.Google Scholar
Berg, E. A. (1985), Das unverbesserliche Romantiker: Alban Berg 1885–1935, Vienna: Österreichischer Bundesverlag.Google Scholar
Berio, L. (1985), Two Interviews, with R. Dalmonte and B. A. Varga, trans. and ed. Osmand-Smith, D., New York: Marion Boyars.Google Scholar
Berio, L. (1998), Liner note to Luciano Berio: Sequenzas, Ensemble InterContemporain, 3 CDs, Deutsche Grammophon 457 038-2.Google Scholar
Berio, L. (2013a), ‘Aspetti di un artigianato formale’, in De Benedictis, A. I. (ed.), Scritti sulla musica, Turin: Einaudi, 237–52.Google Scholar
De Benedictis, A. I. (2013b), ‘Poesia e musica: un’esperienza’, in De Benedictis, A. I. (ed.), Scritti sulla musica, Turin: Einaudi, 253–66.Google Scholar
Bernard, J. W. (1990), ‘An Interview with Elliott Carter’, Perspectives of New Music, 28, 180214.Google Scholar
Bernstein, L. (1967), The Joy of Music, New York: Simon and Schuster.Google Scholar
Bernstein, Z. (2016), ‘The Problem of Completeness in Milton Babbitt’s Music and Thought’, Music Theory Spectrum, 38:2, 241–64.CrossRefGoogle Scholar
Biuletyn Informacyiny ZKP [Polish Composers’ Union’s Information Bulletin] (1963), June–November.Google Scholar
Blumröder, C. von (1993), Die Grundlegung der Musik Karlheinz Stockhausens, Stuttgart: F. Steiner.Google Scholar
Blumröder, C. (1995), ‘Serielle Musik’, in Eggebrecht, H. H. (ed.), Terminologie der Musik im 20. Jahrhundert, Stuttgart: F. Steiner, 396411.Google Scholar
Boivin, J. (1995), La classe de Messiaen, Paris: Christian Bourgeois.Google Scholar
Borio, G. (1993), Musikalische Avantgarde um 1960: Entwurf einer Theorie der informellen Musik, Laaber: Laaber.Google Scholar
Borio, G. (2004), ‘Tempo e ritmo nelle composizioni seriali, 1952–1956’, in Borio, G., Morelli, F., and Rizzardi, V. (eds.), Le musiche degli anni Cinquanta, Florence: Olschki, 61115.Google Scholar
Borio, G. (2006), ‘Dire cela, sans savoir quoi: The Question of Meaning in Adorno and in the Musical Avant-Garde’, in Hoeckner, B. (ed.), Apparitions: New Perspectives on Adorno and Twentieth-Century Music, New York: Routledge, 4167.Google Scholar
Borio, G. (2009), ‘Finne dell’esotismo: l’infiltrazione dell’Altro nella musica d’arte dell’Occidente’, in Ginnattasio, F. and Facci, S. (eds.), L’etnomusicologia e le musiche contemporanee, Venice: Fondazione Cini. www.cini.it/pubblicazioni/letnomusicologia-e-le-musiche-contemporanee-it.Google Scholar
Ginnattasio, F. and Facci, S. (2013a), ‘The End of Exoticism or The Infiltration of the Other into Western Art Music: Boulez, Debussy, Kagel, Varèse and the Development of Musical Thought’, Paper presented at the Italian Academy for Advanced Studies in America, New York, Columbia University.Google Scholar
Ginnattasio, F. and Facci, S. (2013b), ‘Sound as Process: Giacinto Scelsi and the Composers of Nuova Consonanza’, in Sciannameo, F. and Pellegrini, A. C. (eds.), Music as Dream: Essays on Giacinto Scelsi, Lanham: Scarecrow, 46–9.Google Scholar
Borio, G. and Danuser, H. (1997), Im Zenit der Moderne: Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966, Freiburg im Breisgau: Rombach.Google Scholar
Born, G. (1995), Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde, Berkeley: University of California Press.Google Scholar
Boros, J. (1990), ‘Shattering the Vessels of Received Wisdom: Brian Ferneyhough in Interview’, Perspectives of New Music, 28:2, 645.Google Scholar
Boss, J. (2014), Schoenberg’s Twelve-Tone Music: Symmetry and the Musical Idea, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Boulez, P. (1952), ‘Schoenberg Is Dead’, The Score, 6, 1822.Google Scholar
Boulez, P. (1966a), ‘Schönberg est mort’, in Relevés d’apprenti, Paris: Seuil, 265–72.Google Scholar
Boulez, P. (1966b), ‘Stravinsky demeure’, in Relevés d’apprenti, Paris: Seuil, 75146.Google Scholar
Boulez, P. (1967), ‘Musiques traditionnelles: un paradis perdu?’, The World of Music: revue du Conseil International de la Musique à l’UNESCO, 9:2, Kassel: Bärenreiter, 310.Google Scholar
Boulez, P. (1971), On Music Today, trans. S. Bradshaw and R. R. Bennett, London: Faber.Google Scholar
Boulez, P. (1976), Pierre Boulez: Conversations with Célestin Deliège, trans. B. Hopkins, London: Eulenburg.Google Scholar
Boulez, P. (1984), ‘Existe-t-il un conflit entre la pensée européenne et non-européenne?’, in Oesch, H., Arlt, W., and Haas, M. (eds.), Europäische Musik zwischen Nationalismus und Exotik, Winterthur: Amadeus, 131–45.Google Scholar
Boulez, P. (1986a), ‘Necessité d’un orientation esthétique (II)’, Canadian University Music Review, 7, 4679.Google Scholar
Boulez, P. (1986b), ‘Poetry – Centre and Absence – Music’, in Orientations, trans. M. Cooper, London: Faber & Faber, 183–98.Google Scholar
Boulez, P. (1986c), ‘Sonate, que me veux-tu?’, in Orientations, trans. M. Cooper, London: Faber & Faber, 143–54.Google Scholar
Boulez, P. (1986d), ‘Speaking, Playing, Singing’, in Orientations, trans. M. Cooper, London: Faber & Faber, 330–43.Google Scholar
Boulez, P. (1991a), ‘Bach’s Moment’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 114.Google Scholar
Boulez, P. (1991b), ‘Current Investigations’, in Stocktakings from an Apprenticeship, ed. by Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 1519.Google Scholar
Boulez, P. (1991c), ‘Entries for a Musical Encyclopedia: Series’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 234–6.Google Scholar
Boulez, P. (1991d), ‘ … Near and Far’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 141–57.Google Scholar
Boulez, P. (1991e), ‘Possibly … ’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 111–40.Google Scholar
Boulez, P. (1991f), ‘Schoenberg Is Dead’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 209–14.Google Scholar
Boulez, P. (1991g), ‘Tendencies in Recent Music’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 173–79.Google Scholar
Boulez, P. (1991h), ‘Trajectories: Ravel, Stravinsky, Schoenberg’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 188208.Google Scholar
Boulez, P. (1991i), ‘Corruption in the Censers’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 20–6.Google Scholar
Boulez, P. (1991j), ‘Alea’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 2638.Google Scholar
Boulez, P. (1991k), ‘Anton Webern’, in Stocktakings from an Apprenticeship, ed. Thévenin, P., trans. S. Walsh, Oxford: Clarendon, 293303.Google Scholar
Boulez, P. (2004), ‘On My Structures For Two Pianos (1952)’, trans. O. Laske, Sonus, 24:2, 7797.Google Scholar
Boulez, P. ([1992–93] 2018), ‘Writing and Idea’, in Dunsby, J., Goldman, J., and Whittall, A. (eds. and trans.), Music Lessons: The Collège de France Lectures, London: Faber & Faber, 560–91.Google Scholar
Boynton, N. (2002), ‘Anton Webern, Variationen op. 27: Gegenüberstellung der Handexemplare von Else Cross und Peter Stadlen’, in Grassl, M. and Kapp, R. (eds.), Die Lehre von der musikalischen Aufführung in der Wiener Schule, Vienna: Böhlau, 101–11.Google Scholar
Boynton, N. (2009), ‘Some Remarks on Anton Webern’s “Variations” Opus 27’, in Schweiber, D. and Urbanek, N. (eds.), webern_21, Vienna: Böhlau, 199219.Google Scholar
Bradshaw, S. (1986), ‘The Instrumental and Vocal Music’, in Glock, W. (ed.), Pierre Boulez: A Symposium, London: Eulenberg, 127230.Google Scholar
Brewster, B. and Broughton, F. ([1999] 2006), Last Night a DJ Saved My Life: The History of the Disc Jockey, New York: Grove.Google Scholar
Brilliant, M. (1964), ‘Stravinsky Work Coolly Received’, New York Times, 24 August, 23.Google Scholar
Brody, J. and Oncley, L. (1968), ‘Current Chronicle: Bloomington, Indiana’, The Musical Quarterly, 54, 8792.CrossRefGoogle Scholar
Brody, M. (1993), ‘“Music for the Masses”: Milton Babbitt’s Cold War Music Theory’, The Musical Quarterly, 77:2, 161–92.Google Scholar
Brown, S. (2015), ‘Twelve-Tone Rows and Aggregate Melodies in the Music of Shostakovich’, Journal of Music Theory, 59:2, 191234.Google Scholar
Buch, E. (2007), ‘L’avant-garde musicale à Buenos Aires: Paz contra Ginastera’, Circuit: Musiques contemporaines, 17:2, https://doi.org/10.7202/016836ar.Google Scholar
Buchler, M. H. (2007), ‘Reconsidering Klumpenhouwer Networks’, Music Theory Online, 13:2. www.mtosmt.org/issues/mto.07.13.2/mto.07.13.2.buchler.html.CrossRefGoogle Scholar
Burt, P. (2006), The Music of Tōru Takemitsu, New York: Cambridge University Press.Google Scholar
Busch, R. (1985), ‘On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (I)’, trans. M. Graubart, Tempo, 154, 210.Google Scholar
Busch, R. (2020), ‘Bemerkungen zum Klavierstück M 277 im Kontext des Skizzenbuch Nr. 1’, Journal of the Arnold Schönberg Center, 17, 211–9.Google Scholar
Butler, M. (2006), Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Bloomington: Indiana Press.Google Scholar
Butler, M. (2014), Playing with Something that Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance, New York: Oxford University Press.Google Scholar
Cage, J. (1961), ‘To Describe the Process of Composition Used in Music of Changes and Imaginary Landscape No. 4’, in Silence, Middletown: Wesleyan University Press, 57–9.Google Scholar
Cagney, L. (2019), ‘Vers une écriture liminale: Serialism, Spectralism and Écriture in the Transitional Music of Gérard Grisey’, in Heile, B. and Wilson, C. (eds.), The Routledge Research Companion to Modernism in Music, London: Routledge, 400–26.Google Scholar
Cairns, P. (2010), ‘Interview with Composer George Rochberg’, http://artistprofilesproject.blogspot.ca/2010/01/interview-with-composer-george-rochberg.html. Accessed 19 September 2015.Google Scholar
Cairns, Z. (2012), ‘Svetlana Kurbatskaya on Serial Music: Twelve Categories of “Twelve-Toneness”’, Gamut, 5:1, 99132.Google Scholar
Cairns, Z. (2013), ‘Edison Denisov’s Second Conservatory: Analysis and Implementation’, Indiana Theory Review, 31:1–2, 5287.Google Scholar
Campbell, E. (2010), Boulez, Music and Philosophy, Cambridge: Cambridge University Press.Google Scholar
Campbell, E. (2016), ‘Pierre Boulez: Composer, Traveller, Correspondent’, in Campbell, E. and O’Hagan, P. (eds.), Pierre Boulez Studies, Cambridge: Cambridge University Press, 324.Google Scholar
Carlos, W. (n.d.), ‘Interesting Miscellany’, www.wendycarlos.com/resources.html#PDFs. Accessed 31 July 2020.Google Scholar
Carpenter, P. (1983), ‘Grundgestalt as Tonal Function’, Music Theory Spectrum, 5, 1538.CrossRefGoogle Scholar
Carr, M. A. (2002), Multiple Masks: Neoclassicism in Stravinsky’s Works on Greek Subjects, Lincoln: University of Nebraska Press.Google Scholar
Carr, M. A. (2014), After the Rite: Stravinsky’s Path to Neoclassicism (1914–1925), New York: Oxford University Press.Google Scholar
Carroll, M. (2006), Music and Ideology in Cold War Europe, Cambridge: Cambridge University Press.Google Scholar
Carter, E. (1971), ‘Expressionism and American Music’, in Boretz, B. and Cone, E. T. (eds.), Perspectives on American Composers, New York: WW Norton, 217–29.Google Scholar
Cartwright, D. (1999), ‘Schopenhauer’s Narrower Sense of Morality’, in Janaway, C. (ed.), The Cambridge Companion to Schopenhauer, Cambridge: Cambridge University Press, 252–92.Google Scholar
Chafe, E. (2000), Analyzing Bach Cantatas, Oxford: Oxford University Press.Google Scholar
Chang, H. K. H. (2020), ‘Yun Isang, Media, and the State: Forgetting and Remembering a Dissident Composer in Cold-War South Korea’, The Asia-Pacific Journal, 1819:3, https://apjjf.org/2020/19/Chang.html.Google Scholar
Chang, J. (2005), Can’t Stop, Won’t Stop: A History of the Hip-Hop Generation, New York: Picador.Google Scholar
Chang, P. (1991), ‘Tan Dun’s String Quartet Feng-Ya-Song: Some Ideological Issues’, Asian Music, 22:2, 127–58.Google Scholar
Cheong, W.-L. (2016), ‘Reading Schoenberg, Hindemith, and Kurth in Sang Tong (桑桐): Modernist Harmonic Approaches in China’, Acta Musicologica, 88:1, 87108.Google Scholar
Choi, H. (2009), Gender and Mission Encounters in Korea: New Women, Old Ways, Berkeley: University of California Press.Google Scholar
Christensen, E. (2004), ‘Overt and Hidden Process in 20th-Century Music’, Axiomathes, 14, 97117.Google Scholar
Clarke, D. (1993), ‘Parting Glances’, Musical Times, 134, 680–4.Google Scholar
Cline, D. (2019), ‘Two Concepts of Indeterminacy in Music’, The Musical Quarterly, 102:1, 82110.CrossRefGoogle Scholar
Cocteau, J. (1926), Le rappel à l’ordre, Paris: Stock.Google Scholar
‘Composers Tan Dun and Chen Qigang discuss their membership in the Class of 1978’ (2009), in Ancient Paths, Modern Voices, http://chinafestival.carnegiehall.org/events/13082.aspx#video. Accessed 1 November 2021.Google Scholar
Cone, E. T. (1968), ‘Conversation with Aaron Copland’, Perspectives of New Music, 6, 5772.CrossRefGoogle Scholar
Cone, E. T. (1971a), ‘Conversation with Aaron Copland’, in Boretz, B. and Cone, E. T. (eds.), Perspectives on American Composers, New York: WW Norton, 131–46.Google Scholar
Cone, E. T. (1971b), ‘Conversation with Roger Sessions’, in Boretz, B. and Cone, E. T. (eds.), Perspectives on American Composers, New York: WW Norton, 90107.Google Scholar
Cook, N. (2017), ‘Inventing Tradition: Webern’s Piano Variations in Early Recordings’, Music Analysis, 36:2, 163215.Google Scholar
Copland, A. and Perlis, V. (1989), Copland: Since 1943, New York: St. Martin’s Griffin.Google Scholar
Corrado, O. (2012), Vanguardias al sur: la música de Juan Carlos Paz, Bernal: Editorial Universidad Nacional de Quilmes.Google Scholar
Cott, J. (1974), Stockhausen: Conversations with the Composer, London: Robson.Google Scholar
Covach, J. (2017), ‘Schoenberg’s (Analytical) Gaze: Musical Time, The Organic Ideal, and Analytical Perspectivism’, Theory and Practice, 42, 141–59.Google Scholar
Craft, R. (1956), ‘A Concert for Saint Mark’, The Score, 8, 3545.Google Scholar
Craft, R. (1992), Stravinsky: Glimpses of a Life, New York: St. Martin’s Press.Google Scholar
Dahlhaus, C. (1983a), Foundations of Music History, trans. J. B. Robinson, Cambridge: Cambridge University Press.Google Scholar
Dahlhaus, C. (1983b), ‘Die Krise des Experiments’, in Jost, E. (ed.), Komponieren Heute: Ästhetische, soziologische und pädagogische Fragen, Mainz: Schott, 8094.Google Scholar
Dahlhaus, C. (1987), ‘A Rejection of Material Thinking?’, in Schoenberg and the New Music, trans. D. Puffett and A. Clayton, Cambridge: Cambridge University Press, 274–87.Google Scholar
Dahlhaus, C. (2007), ‘Das “postserielle” Jahrzehnt’, in Danuser, H., Hinrichsen, H.-J., and Plebusch, T. (eds.), Gesammelte Schriften. 10: Varia, Laaber: Laaber, 517–21.Google Scholar
Dal Molin, P. (2006), ‘“Sans cause extérieure apparente, ni affluents, ni glaciers, ni orages” … La construction de l’hétérophonie dans les versets de Rituel’, in Decroupet, P. and Leleu, J.-L. (eds.), Pierre Boulez: Techniques d’écriture et enjeux esthétiques, Geneva: Contrechamps, 157–76.Google Scholar
Dal Molin, P. (2007), ‘Introduction à la famille d’oeuvres … explosante-fixe … de Pierre Boulez: Étude philologique’, PhD dissertation, Université de Nice-Sophia Antipolis.Google Scholar
Dal Molin, P. (2009), ‘Mémoriale de Pierre Boulez: Ce que les sources (ne) nous disent (pas)’, Revue de Musicologie, 95:2, 475523.Google Scholar
Dal Molin, P. (2016), ‘Composing an Improvisation at the Beginning of the 1970s’, in Campbell, E. and O’Hagan, P. (eds.), Pierre Boulez Studies, Cambridge: Cambridge University Press, 270300.Google Scholar
Dallapiccola, L. (1951), ‘On the Twelve-Note Road’, trans. Deryck Cooke, Music Survey, 4, 318–32.Google Scholar
Daunoravičienė, G. (2017), ‘Die Rezeption der Wiener Schule in Litauen’, in Loos, H. (ed.), Musikgeschichte in Mittel- und Osteuropa, 20 vols., Leipzig: Gudrun Schröder, xix, 343404.Google Scholar
Daunoravičienė, G. (2018), ‘Compositional System of Osvaldas Balakauskas: An Attempt to Restore the Theoretical Discourse’, Musicological Annual, 54:2, 4695.CrossRefGoogle Scholar
De Benedictis, A. I. (2004), ‘Gruppo, linea e proiezioni armoniche: Continuità e trasformazione della tecnica all’inizio degli anni Sessanta’, in Borio, G., Morelli, F., and Rizzardi, V. (eds.), Le musiche degli anni Cinquanta, Florence: Olschki, 183226.Google Scholar
De Benedictis, A. I. (2006), ‘“Can the Text Itself Become Music?”: On the Relationship between Text and Music in Luigi Nono’s Vocal Works of the 1960s’, Ex Tempore: A Journal of Compositional and Theoretical Research in Music, 13:1, 2448.Google Scholar
De Benedictis, A. I. (2012), ‘The Dramaturgical and Compositional Genesis of Luigi Nono’s Intolleranza 1960’, Twentieth-Century Music, 9:1–2, 101–41.Google Scholar
De Benedictis, A. I. and Rizzardi, V. (2018a), ‘Introduction’, in Nostalgia for the Future: Luigi Nono’s Selected Writings and Interviews, ed. De Benedictis, A. I. and Rizzardi, V., Oakland: University of California Press, 122.Google Scholar
De Benedictis, A. I. and Rizzardi, V. (2018b), ‘On Some Difficulties in the Collection and Edition of the Writings of Luigi Nono’, Musica/Realtà, 115, 137–59.Google Scholar
Decroupet, P. (1995a), ‘Rätsel der Zahlen-Quadrate: Funktion und Permutation in der seriellen Musik von Boulez und Stockhausen’, Positionen: Beiträge zur neuen Musik, 23, 259.Google Scholar
Decroupet, P. (1995b), ‘Renverser la vapeur … : Zu Musikdenken und Kompositionen von Boulez in den fünfziger Jahren’, Musik-Konzepte, 89–90, 112–31.Google Scholar
Decroupet, P. (1997), ‘Konzepter serieller Musik’, in Borio, G. and Danuser, H. (eds.), Im Zenit der Moderne: Die Internationale Ferienkurse für Neue Musik Darmstadt 1946–1966, Freiburg: Rombach, i, 285425.Google Scholar
Decroupet, P. (2003a), ‘Comment Boulez pense sa musique au début des années soixante’, in Albèra, P. (ed.), Pli selon pli de Pierre Boulez: Entretien et études, Geneva: Contrechamps, 4957.Google Scholar
Decroupet, P. (2003b), ‘“Omnia tempus habent”: quelques réflexions sur la longévité démesurée de certains stéréotypes au sujet de la musique sérielle’, in Borio, G. (ed.), L’orizzonte filosofico del comporre nel ventesimo secolo / The Philosophical Horizon of Composition in the Twentieth Century, Bologna: Il Mulino, 99112.Google Scholar
Decroupet, P. (ed.) (2005), Pierre Boulez: Le Marteau sans maître: Facsimile of the Draft Score and the First Fair Copy of the Full Score, Mainz: Schott.Google Scholar
Decroupet, P. (2006), ‘Moments doubles, figures en prisme’, in Decroupet, P. and Leleu, J.-L. (eds.), Pierre Boulez: Techniques d’écriture et enjeux esthétiques, Geneva: Contrechamps, 133–57.Google Scholar
Decroupet, P. (2011), ‘Ästhetik im Schlepptau der Technik’, in Delaere, M. (ed.), Rewriting Recent Music History: The Development of Early Serialism, 1947–1957, Leuven: Peeters, 2743.Google Scholar
Decroupet, P. (2012), ‘Le rôle des clés et algorithms dans le décryptage analytique: L’example des musiques sérielles de Pierre Boulez, Karlheinz Stockhausen et Bernd Alois Zimmermann’, Revue de musicologie, 98:1, 221–46.Google Scholar
Decroupet, P. (2016), ‘Serial Organisation and Beyond: Cross-Relations of Determinants in Le Marteau sans maître and the Dynamic Pitch-Algorithm of “Constellation”’, in Campbell, E. and O’Hagan, P. (eds.), Pierre Boulez Studies, Cambridge: Cambridge University Press, 108–38.Google Scholar
Decroupet, P. and Leleu, J.-L. (2006), Pierre Boulez: Techniques d’écriture et enjeux esthétiques, Geneva: Contrechamps.Google Scholar
Decroupet, P. and Ungeheuer, E. (1998), ‘Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of Gesang der Jünglinge’, Perspectives of New Music, 36:1, 97142.Google Scholar
Deguchi, T. (2019), ‘Tōru Takemitsu’s “Spherical Mirror”: The Influences of Shūzō Takiguchi and Fumio Hayasaka on His Early Music in Postwar Japan’, Athens Journal of Humanities & Arts, 6:4, 299322.CrossRefGoogle Scholar
Delaere, M. (1996), ‘Karel Goeyvaerts: A Belgian Pioneer of Serial, Electronic and Minimal Music’, Tempo, 195, 25.CrossRefGoogle Scholar
Delaere, M. (1998), Nieuwe Muziek in Vlaanderen, Bruges: Het Kunstboek.Google Scholar
Delaere, M. (2002), ‘Olivier Messiaen’s Analysis Seminar and the Development of Post-War Serial Music’, Music Analysis, 21:1, 3551.CrossRefGoogle Scholar
Delaere, M. (ed.) (2010), Karel Goeyvaerts: Selbstlose Musik: Texte—Briefe—Gespräche, Cologne: MusikTexte.Google Scholar
Delaere, M. (2011), Rewriting Recent Music History: The Development of Early Serialism, 1947–1957, Leuven: Peeters.Google Scholar
Deleuze, G. (1997), Difference and Repetition, trans. P. Patton, London: Continuum.Google Scholar
Denisov, E. (1969), ‘Dodekafoniia i problemy sovremennoi kompozitorskoi tekhniki’, Muzyka i sovremennost, 6, 478525.Google Scholar
Denisov, E. (1999), ‘Za ob’ektivnost’ i spravedlivost’ v otsenke sovremennoi muzyki’, in Tsenova, V. (ed.), Svet-dobro-vechnost’: Pamiati Edisona Denisova, stat’i, vospominaniia, materialy, Moscow: Moskovskaia gosudarstvennaia konservatoriia im. P. I. Chaikovskogo, 2233.Google Scholar
Denisov, E. and Shul’gin, D. (2004), Priznanie Edisona Denisova: Po materialam besed, Moscow: Kompozitor.Google Scholar
Downes, O. (1941), ‘Problems of Adjustment: Clashing Interests between Native Musicians and Refugees Come to America from Overseas’, New York Times, 19 January, X7.Google Scholar
Drees, S. (2003), ‘Renaissance-Musik als Inspirationsquelle für das Komponieren Bruno Madernas und Luigi Nonos’, in Dobszay, L. (ed.), The Past in the Present: Papers Read at the IMS Intercongressional Symposium and the 10th Meeting of the Cantus Planus, Budapest & Visegrád, 2000, Budapest: Liszt Ferenc Academy of Music, 545–58.Google Scholar
Dubinets, E. (2010), Kniaz’ Andrei Volkonskii. Partitura zhizni, Moscow: Ripol klassik.Google Scholar
Eco, U. (1989), ‘The Poetics of the Open Work’, trans. B. Merry, in Robey, D. (ed.), The Open Work, Cambridge, MA: Harvard University Press, 123.Google Scholar
Egg, A. (2006), ‘A Carta Aberta de Camarga Guarnieri’, Revista Científica/FAP, 1, http://periodicos.unespar.edu.br/index.php/revistacientifica/article/view/1735.Google Scholar
Eimert, H. (1950), Lehrbuch der Zwölftontechnik, Wiesbaden: Breitkopf and Härtel.Google Scholar
Eimert, H. (1955), ‘Die notwendige Korrektur’, Die Reihe, 2, 3541.Google Scholar
Eimert, H. (1958), ‘What Is Electronic Music?’, Die Reihe, 1, 110.Google Scholar
Eimert, H. (1959), ‘A Change of Focus’, Die Reihe, 2, 2936.Google Scholar
Emmery, L. (2019), ‘Elliot Carter’s and Luigi Nono’s Analyses of Schoenberg’s Variations for Orchestra, Op. 31: Divergent Approaches to Serialism’, Twentieth-Century Music, 16:2, 191229.Google Scholar
Ertlet, T. (1993), Alban Bergs Lulu: Quellenstudien und Beiträge zur Analyse, Vienna: Universal.Google Scholar
Erbe, M. (2004), ‘Karlheinz Stockhausens Telemusik’, in von Blümroder, C. (ed.), Kompositorische Stationen des 20. Jahrhunderts: Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle, Münster: Lit, 129–71.Google Scholar
Erwin, M. (2019), ‘Roadmap to Total Control: A Critical Chronology, Work List, and Legacy for Herman Van San’, Revue belge de musicology / Belgisch tijdschrift voor muziekwetenschap, 73, 173200.Google Scholar
Erwin, M. (2020), ‘An Apprenticeship and Its Stocktakings: Leibowitz, Boulez, Messiaen, and the Discourse and Practice of New Music’, Twentieth-Century Music, 18:1, 7193.Google Scholar
Eshun, K. (1998), More Brilliant Than the Sun: Adventures in Sonic Fiction, London: Quartet.Google Scholar
Estenssoro, J. C. (2001), ‘Iturriaga, Enrique’, Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.13988.Google Scholar
Etheridge, K. (2014), ‘Japanese Musical Modanizumu: Interwar Yōgaku Composers and Modernism’, PhD dissertation, Florida State University.Google Scholar
Everett, Y. U. (2004), ‘Intercultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy’, in Everett, Y. U. and Lau, F. (eds.), Locating East Asia in Western Art Music, Middletown: Wesleyan University Press.Google Scholar
Faure, M. (1962), ‘Entretien avec Luciano Berio’, Les Lettres Nouvelles, 22, 128–40.Google Scholar
Fearn, R. (1990), Bruno Maderna, Chur: Harwood Academic.Google Scholar
Feisst, S. (2011), Schoenberg’s New World: The American Years, New York: Oxford University Press.Google Scholar
Fineberg, J. (2000), ‘Spectral Music’, Contemporary Music Review, 19:2, 15.Google Scholar
Fink, R. (2005a), Repeating Ourselves: American Minimalism as Cultural Practice, Berkeley: University of California Press.CrossRefGoogle Scholar
Fink, R. (2005b), ‘The Story of ORCH5, or, the Classical Ghost in the Hip Hop Machine,” Popular Music, 24:4, 118.Google Scholar
Floros, C. (1994), Alban Berg: Musik als Autobiographie, Wiesbaden: Breitkopf and Härtel.Google Scholar
Floros, C., Berg, A., and Fuchs, H. (2008), Alban Berg and Hanna Fuchs: The Story of a Love in Letters, trans. E. Bernhardt-Kabisch, Bloomington: Indiana University Press.Google Scholar
Folio, C. (1985), ‘The Synthesis of Traditional and Contemporary Elements in Joseph Schwantner’s Sparrows’, Perspectives of New Music, 24:1, 184–96.Google Scholar
Forte, A. (1973), The Structure of Atonal Music, New Haven: Yale University Press.Google Scholar
Fugellie, D. (2018), ‘Musik unserer Zeit’: Internationale Avantgarde, Migration und Wiener Schule in Südamerika, Munich: text + kritik.Google Scholar
Gagne, C. and Caras, T. (1982), Soundpieces: Interviews with American Composers, Metuchen: Scarecrow.Google Scholar
Galliano, L. (2002), Yogaku: Japanese Music in the Twentieth Century, Lanham: Scarecrow.Google Scholar
Galliano, L. (2018), Music of Joji Yuasa, Newcastle upon Tyne: Cambridge Scholars Publishing.Google Scholar
Gann, Kyle (2006), ‘Let X = X: Minimalism versus Serialism’ (1987), in Music Downtown: Writings from the Village Voice, Berkeley: University of California Press, 147–49.Google Scholar
Gertner, J. (2012), The Idea Factory: Bell Labs and the Great Age of American Innovation, New York: Penguin.Google Scholar
Gerzso, A. (1984), ‘Reflections on Répons’, Contemporary Music Review, 1, 2334.Google Scholar
Geuss, R. (1997), ‘Berg and Adorno’, in Pople, A. (ed.), The Cambridge Companion to Berg, Cambridge: Cambridge University Press, 3850.CrossRefGoogle Scholar
Glock, W. (1952), ‘Comment’, The Score, 6, 36.Google Scholar
Glock, W. (ed.) (1986), Pierre Boulez: A Symposium, London: Eulenberg.Google Scholar
Gibson, J. ([1979] 2005), The Ecological Approach to Visual Perception, New York: Taylor & Francis.Google Scholar
Girard, A. (2007), ‘Music Theory in the American Academy’, PhD dissertation, Harvard University.Google Scholar
Gluck, R. J. (2007), ‘The Columbia-Princeton Electronic Music Center: Educating International Composers’, Computer Music Journal, 31:2, 2038.CrossRefGoogle Scholar
Goeyvaerts, K. (1994), ‘Paris–Darmstadt: Excerpt from the Autobiographical Portrait’, Revue belge de Musicologie, 48, 3554.Google Scholar
Goeyvaerts, K. ([1957] 2010a), ‘Die Kompositionstechnik im 14. und 15. Jahrhundert in ihrer Beziehung zur Gegenwart’, in Delaere, M. (ed.), Karel Goeyvaerts: Selbstlose Musik: Texte—Briefe—Gespräche, Cologne: MusikTexte, 158–63.Google Scholar
Goeyvaerts, K. (2010b), Selbstlose Musik: Texte, Briefe, Gespräche, ed. Delaere, Mark, Cologne: MusikTexte.Google Scholar
Gojowy, D. (1980), Neue sowjetische Musik der 20er Jahre, Laaber: Laaber.Google Scholar
Gojowy, D. and Kolesnikov, A. Y. (2001), ‘Golïshev, Yefim’, Grove Music Online. https://doi.org/10.1093/gmo/9781561592630.article.11405.CrossRefGoogle Scholar
Gołąb, M. (2004), Józef Koffler: Compositional Style and Source Documents, Los Angeles: Polish Music Center USC.Google Scholar
Goldman, J. (2011), The Musical Language of Pierre Boulez: Writings and Compositions, Cambridge: Cambridge University Press.Google Scholar
Gorbanevskaia, N. (1967), ‘Valentin Sil’vestrov: Vyiti iz zamknutogo prostranstva … ’, Iunost’, 9, 100–1.Google Scholar
Gould, G. (1956), ‘The Dodecaphonist’s Dilemma’, Canadian Music Journal, 1, 20–9.Google Scholar
Granat, Z. (2008), ‘Sonoristics, sonorism’, Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.2061689.CrossRefGoogle Scholar
Grant, M. J. (2001), Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe, Cambridge: Cambridge University Press.Google Scholar
Gredinger, P. (1958), ‘Serial Technique’, Die Reihe, 1, 3844.Google Scholar
Griffiths, P. (1978), Boulez, Oxford: Oxford University Press.Google Scholar
Griffiths, P. (1995), Modern Music and After: Directions Since 1945, Oxford: Oxford University Press.Google Scholar
Griffiths, P. (2003), The Sea on Fire: Jean Barraqué, Rochester: University of Rochester Press.Google Scholar
Gromov, E. (2018), Kyiv Daily [Facebook post], 29 December, www.facebook.com/kyivdaily/posts/482720412134639/. Accessed 31 August 2022.Google Scholar
Gruber, G. (1998), ‘Stockhausen’s Konzeptionen der “Weltmusik”’, in Misch, I. and von Blumröder, C. (eds.), Internationales Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998: Tagungsbericht, Saarbrücken: Pfau, 103–11.Google Scholar
Guarnieri, C. (2000), ‘Carta aberta aos músicos e críticos do Brasil’, in Kater, C., Música Viva e H.J. Koellreutter: movimentos em direção à modernidade, São Paulo: Musa Editora, 119–24.Google Scholar
Guerrero, J. M. (2009), ‘The Presence of Hindemith in Nono’s Sketches: A New Context for Nono’s Music’, The Journal of Musicology, 26:4, 481511.CrossRefGoogle Scholar
Haas, G. F. (1990), ‘Disziplin oder Indisziplin? Anmerkungen zu der von Ulrich Mosch veröffentlichen Reihentabelle van Pierre Boulez’, Musiktheorie, 5:3, 271–3.Google Scholar
Haefeli, A. (1982), Die internationale Gesellschaft für Neue Musik, Zurich: Atlantis.Google Scholar
Hailey, C. (2010), Alban Berg and His World, Princeton: Princeton University Press.Google Scholar
Haimo, E. (1990), Schoenberg’s Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914–1928, Oxford: Clarendon.Google Scholar
Haimo, E. (2002), ‘Tonal Analogies in Arnold Schoenberg’s Fourth Quartet’, Journal of the Arnold Schönberg Center, 4, 219–28.Google Scholar
Hall, P. (1997), A View of Berg’s ‘Lulu’ through the Autograph Sources, Berkeley: University of California Press.Google Scholar
Hamao, F. (2011), ‘Redating Schoenberg’s Announcement of the Twelve-Tone Method: A Study of Recollections’, GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic, 4:1. https://trace.tennessee.edu/cgi/viewcontent.cgi?article=1060&context=gamut.Google Scholar
Hayashi, T. (2017), ‘The Primer: Yellow Magic Orchestra’, The Wire, 404, 3845.Google Scholar
Headlam, D. (1996), The Music of Alban Berg, New Haven: Yale University Press.Google Scholar
Hegel, G. W. F. (1975), Hegel’s Aesthetics: Lectures on Fine Art, ii, ed. and trans. Sir Thomas Malcolm Knox, Oxford: Oxford University Press.Google Scholar
Heike, G. (1999), ‘Die Bedeutung der Phonetik in der Vokalkomposition von Stockhausen’, in Misch, I. and von Blumröder, C. (eds.), Internationales Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998: Tagungsbericht, Saarbrücken: Pfau, 206–16.Google Scholar
Heile, B. (2006), The Music of Mauricio Kagel, Aldershot: Ashgate.Google Scholar
Heile, B. (2009), ‘Weltmusik and the Globalization of New Music’, in Heile, B. (ed.), The Modernist Legacy: Essays on New Music, Aldershot: Ashgate, 101–21.Google Scholar
Henahan, D. (1980), ‘Philharmonic: Zagortsev’, New York Times, 18 January, C20.Google Scholar
Henrich, H. (1997), Das Werk Jean Barraqués: Genese und Faktur, Kassel: Bärenreiter.Google Scholar
Herd, J. A. (1989), ‘The Neonationalist Movement: Origins of Japanese Contemporary Music’, Perspectives of New Music, 27:2, 118–63.Google Scholar
Herrera, E. (2020), Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music, New York: Oxford University Press.Google Scholar
Hicks, M. (1990) ‘John Cage’s Studies with Schoenberg’, American Music, 8:2, 125–40.CrossRefGoogle Scholar
Hill, P. (2007), ‘Messiaen Recorded: The Quatres Études de rythme’, in Dingle, C. and Simeone, N. (eds.), Olivier Messiaen: Music, Art and Literature, Abingdon: Taylor and Francis, 7990.Google Scholar
Hinton, S. (1993), ‘Germany, 1918–45’, in Morgan, R. P. (ed.), Modern Times: From World War I to the Present, Englewood Cliffs: Prentice Hall, 83110.Google Scholar
Hodges, N. (1993), ‘The Music of Bill Hopkins: A Preliminary Approach’, Tempo, 186, 412.CrossRefGoogle Scholar
Hodin, J. P. (1966), Oskar Kokoschka: The Artist and His Time, London: Cory, Adams, and Mackay.Google Scholar
Hogan, C. (1982), ‘“Threni”: Stravinsky’s “Debt” to Krenek’, Tempo, 141, 22–5, 28–9.Google Scholar
Holmes, T. (2016), Electronic and Experimental Music: Technology, Music, and Culture, New York: Routledge.Google Scholar
Holtsträter, K. (2010), Mauricio Kagels musikalisches Werk, Cologne: Böhlau.Google Scholar
Homma, M. (2001), ‘Lutosławski’s Studies in Twelve-Tone Rows’, in Skowron, Z. (ed.), Lutosławski Studies, Oxford: Oxford University Press, 194210.Google Scholar
Hommes, M.-T. (2010), Verkettungen und Querstände: Weberns Schüler Karl Amadeus Hartmann und Ludwig Zenk und die politischen Implikationen ihres kompositorischen Handelns vor und nach 1945, Schliengen: Edition Argus.Google Scholar
Horkheimer, M. and Adorno, T. W. (1972), Dialectic of Enlightenment, trans. J. Cumming, New York: Continuum.Google Scholar
Hosokawa, T. (1995), ‘Aus der Tiefe der Erde: Musik und Natur’, MusikTexte, 60, 4954.Google Scholar
Howard, K. (2006), Perspectives on Korean Music: Tradition, Innovation and the Discourse of Identity, ii, Aldershot: Ashgate.Google Scholar
Hubbs, N. (2004), The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity, Berkeley: University of California Press.Google Scholar
Hume, P. (1954), ‘Stravinsky Septet Has Premiere’, Washington Post, 25 January.Google Scholar
Hüneke, A. (2000), ‘Oskar Kokoschkas Graphiken zur Bachkantate O Ewigkeit, du Donnerwort im Kontext’, in Heinemann, M. and Hinrichsen, H.-J. (eds.), Bach und die Nachwelt, vol 3: 1900–1950, Laaber: Laaber, 381–95.Google Scholar
Husserl, E. (1964), The Phenomenology of Internal Time-Consciousness, ed. Heidegger, M., trans. J. S. Churchill, The Hague: Martinus Nijoff.Google Scholar
Hyde, M. (1982), Schoenberg’s Twelve-Tone Harmony: The Suite Op. 29 and the Compositional Sketches, Ann Arbor: UMI Research Press.Google Scholar
Hyde, M (1983), ‘The Format and Function of Schoenberg’s Twelve-Tone Sketches’, Journal of the American Musicological Society, 36:3, 453–80.Google Scholar
Hyde, M (1985), ‘Musical Form and the Development of Schoenberg’s “Twelve-Tone Method”’, Journal of Music Theory, 29:1, 85143.Google Scholar
Ibáñez-Richter, C. (2014), Mauricio Kagels Buenos Aires (1946–1957): Kulturpolitik—Künstlernetzwerk—Kompositionen, Bielefeld: transcript.Google Scholar
Iddon, M. (2013), New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez, Cambridge: Cambridge University Press.Google Scholar
Imbrie, A. (1971), ‘Roger Sessions: In Honor of His Sixty-Fifth Birthday’, in Boretz, B. and Cone, E. T. (eds.), Perspectives on American Composers, New York: WW Norton, 5989.Google Scholar
Iverson, J. (2014a), ‘Ligeti’s Dodecaphonic Requiem’, Tempo, 68, 3147.Google Scholar
Iverson, J. (2014b), ‘Statistical Form amongst the Darmstadt School’, Music Analysis, 33:3, 341–87.Google Scholar
Iverson, J. (2016), ‘From Analog to Digital: An Interview with Gottfried Michael Koenig’, Tempo, 70:276, 4355.Google Scholar
Iverson, J. (2017a), ‘Invisible Collaboration: The Dawn and Evolution of elektronische Musik’, Music Theory Spectrum, 39:2, 123.Google Scholar
Iverson, J. (2017b), ‘Learning the Studio: Sketches for Mid-Century Electronic Music’, Contemporary Music Review, 36:5, 362–87.Google Scholar
Iverson, J. (2019), Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde, New York: Oxford University Press.CrossRefGoogle Scholar
Iverson, J. (2020), ‘Fraught Adjacencies: The Politics of German Electronic Music’, Acta Musicologica, 92:1, 93111.Google Scholar
Jakelski, L. (2017), Making New Music in Cold War Poland: The Warsaw Autumn Festival, 1956–1978, Berkeley: University of California Press.Google Scholar
Janik, A. (2001), Wittgenstein’s Vienna Revisited, New Brunswick: Transaction.Google Scholar
Janik, E. (2005), Recomposing German Music: Politics and Musical Tradition in Cold War Berlin, Leiden: Brill.Google Scholar
Janz, T. (2019), ‘Multiple Musical Modernities?’, in Janz, T. and Yang, C. (eds.), Decentering Musical Modernity: Perspectives on East Asian and European Music History, Bielefeld: transcript, 279312.Google Scholar
Jarman, D. (1997), ‘Secret Programmes’, in Pople, A. (ed.), The Cambridge Companion to Berg, Cambridge: Cambridge University Press, 167–79.Google Scholar
Jarman, D. (2017), ‘“Frisch, Fromm, Fröhlich, Frei”: The Deutscher Turnerbund and the Berg Violin Concerto’, Musicologica Autriaca: Journal for Austrian Music Studies, 17 February, www.musau.org/parts/neue-article-page/view/34.Google Scholar
Jay, M. (1996), The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research, Berkeley: University of California Press.Google Scholar
Jencks, C. (1987), Post-Modernism: The New Classicism in Art and Architecture, London: Academy.Google Scholar
Johnson, J. (1998), ‘The Nature of Abstraction: Analysis and the Webern Myth’, Music Analysis, 17:3, 267–80.Google Scholar
Johnson, J. (1999), Webern and the Transformation of Nature, Cambridge: Cambridge University Press.Google Scholar
Johnson, R. S. (1975), Messiaen, Berkeley: University of California Press.Google Scholar
Johnson, W. M. (1984), ‘Time Point Sets and Meter’, Perspectives of New Music, 23:1, 278–97.Google Scholar
Jone, H. (1959), ‘A Cantata’, Die Reihe, 2, 78.Google Scholar
Ju, Q. (2017), ‘Musical Thought of Soviet Union and the History of Chinese Contemporary Music’, Chinese Musicology, 3, 4251.Google Scholar
Julien, O. and Levaux, C. (2018), Over and Over: Exploring Repetition in Popular Music, London: Bloomsbury.Google Scholar
Kafka, F. (2017), ‘The Burrow’, in The Burrow: Posthumously Published Short Fiction, trans. M. Hofmann, London: Penguin Random House, 183220.Google Scholar
Kahn, D. (2012), ‘James Tenney at Bell Labs’, in Higgins, H. B. and Kahn, D. (eds.), Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, Berkeley: University of California Press, 131–46.Google Scholar
Kaiser, E. (2013), Rosegger-Rezeption bei Anton Webern, Frankfurt am Main: Peter Lang.Google Scholar
Kaizen, W. (2012), ‘Computer Participator: Nam June Paik’s Work in Computing’, in Higgins, H. B. and Kahn, D. (eds.), Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, Berkeley: University of California Press, 229–39.Google Scholar
Kang, S. (1992), ‘Contemporary Music Skyrocketing in Vigor’, Koreana, 6:1, 916.Google Scholar
Kapp, R. (1988), ‘Shades of the Double’s Original: René Leibowitz’s Dispute with Boulez’, Tempo, 165, 216.Google Scholar
Karnes, K. C. (2021), Sounds Beyond: Arvo Pärt and the 1970s Soviet Underground, Chicago: University of Chicago Press.Google Scholar
Kassel, M. (2004), ‘Das Fundament in Turm zu Babel: Ein weiterer Versuch, Anagrama zu lesen’, in Tadday, U. (ed.), Mauricio Kagel, Munich: text + kritik, 526.Google Scholar
Kassler, M. (1967), ‘Toward a Theory That Is the Twelve-Note-Class System’, Perspectives of New Music, 5:2, 180.Google Scholar
Katayama, M. (2007), ‘About this recording’, Japanese Composer Series: Sugata’s Music, Naxos 8.570319.Google Scholar
Katz, M. (2012), Groove Music: The Art and Culture of the Hip Hop DJ, New York: Oxford University Press.Google Scholar
Kautny, O. (2002), Arvo Pärt zwischen Ost und West: Rezeptionsgeschichte, Stuttgart: Metzler.Google Scholar
Keillor, E. (1994), John Weinzweig and His Music: The Radical Romantic of Canada, Metuchen: Scarecrow.Google Scholar
Keillor, E. (2006), Music in Canada: Capturing Landscape and Diversity, Montreal: McGill-Queen’s University Press.Google Scholar
Keller, H. (1973), ‘Schoenberg and the Crisis of Communication’, in Atherton, D. (ed.), The London Sinfonietta Schoenberg/Gerhard Series, London: Sinfonietta Productions Limited, 44–8.Google Scholar
Kholopov, Y. N. (1983), ‘Kto izobrel 12-tonovoi tekhniku?’, in Problemy istorii avstro-nemetskoi muzyki. Pervaia tret’ XX veka, Moscow: Instituta im. Gnesinykh, 3458.Google Scholar
Kholopov, Y. N. (1999), ‘Tekhniki kompozitsii Nikolaia Roslavtsa i Nikolaia Obukhova v ikh otnoshenii k razvitiiu 12-tonovoi muzyki’, in Muzyka XX veka. Moskovskii forum. Materialy mezhdunarodnykh nauchnykh konferentsii, Moscow: МGК, xxv, 7593.Google Scholar
Khrushchev, N. (2001), ‘Declaration Made by Nikita Khrushchev on 8 March 1963 Stating His Views on Music in Soviet Society’, in Kuhn, L. and Slonimsky, N. (eds.), Music since 1900, New York: Schirmer, 953–4.Google Scholar
Killick, A. P. (1992), ‘Musical Composition in Twentieth-Century Korea’, Korean Studies, 16, 4360.Google Scholar
Kim, M. S. (1990), ‘A Musical and Pedagogical Analysis of Selected Piano Works of Byung Dong Paik’, PhD dissertation, Columbia University.Google Scholar
Kim, S. (2012), ‘Isang Yun and the Hauptton Technique: An Analytical Study of the Second Movement from Duo für Violoncello und Harfe (1984)’, DMA thesis, University of Ottawa.Google Scholar
Klumpenhouwer, H. J. (1991), ‘A Generalized Model of Voice-Leading for Atonal Music’, PhD diss., Harvard University.Google Scholar
Koblyakov, L. (1990), Pierre Boulez: A World of Harmony, New York: Harwood.Google Scholar
Koenig, G. M. (1991–2002), Ästhetische Praxis: Texte zur Musik, 5 vols., Saarbrücken: Pfau.Google Scholar
Koenig, G. M. (2018), ‘Bilthoven Course 1961/62’, in Tazelaar, K. (ed.), Process and Form: Selected Writings on Music, trans. R. Barrett, Hofheim: Wolke, 138–92.Google Scholar
Koenig, G. M. (n.d.), Koenig Project, http://koenigproject.nl/. Accessed 23 July 2020.Google Scholar
Koffler, J. (1934), ‘Drei Begegnungen’, Arnold Schönberg zum 60. Geburtstag, Vienna: Universal, 368.Google Scholar
Kohl, J. (1990), ‘Into the Middleground: Formula Syntax in Stockhausen’s Licht’, Perspectives of New Music, 28:2, 262–91.Google Scholar
Kohl, J. (2017), Karlheinz Stockhausen: Zeitmaße, Abingdon: Routledge.Google Scholar
Kokoschka, O. (1984), O Ewigkeit, du Donnerwort: 11 Lithographien zur Kantate von Johann Sebastian Bach, Leipzig: Reclam.Google Scholar
Korte, O. (2012), ‘Il y a un temps pour tout: la phase sérielle de Zimmermann’, in Michel, P., Henrich, H., and Albèra, P. (eds.), Regards croisés sur Bernd Alois Zimmermann, Geneva: Contrechamps, 6986.Google Scholar
Kovács, I. (1997a), ‘Die Ferienkurse als Schauplatz der Ost-West-Konfrontation’, in Borio, G. and Danuser, H. (eds.), Im Zenit der Moderne: Die Internationale Ferienkurse für Neue Musik Darmstadt 1946–1966, Freiburg: Rombach, i, 116–39.Google Scholar
Kovács, I. (1997b), ‘Gründung und Zielsetzung’, in Borio, G. and Danuser, H. (eds.), Im Zenit der Moderne: Die Internationale Ferienkurse für Neue Musik Darmstadt 1946–1966, Freiburg: Rombach, i, 6575.Google Scholar
Kovács, I. (1997c), ‘Neue Musik abseits der Avantgarde? Zwei Fallbeispiele’, in Borio, G. and Danuser, H. (eds.), Im Zenit der Moderne: Die Internationale Ferienkurse für Neue Musik Darmstadt 1946–1966, Freiburg: Rombach, ii, 1361.Google Scholar
Krenek, E. (1940), Studies in Counterpoint: Based on the Twelve-Tone Technique, New York: G. Schirmer.Google Scholar
Krenek, E. (1943), ‘New Developments in the Twelve-Tone Technique’, Music Review, 4, 8197.Google Scholar
Krenek, E. (1960), ‘Extent and Limits of Serial Techniques’, The Musical Quarterly, 46, 210–32.Google Scholar
Krenek, E. (1971), ‘A Composer’s Influences’, in Boretz, B. and Cone, E. T. (eds.), Perspectives on American Composers, New York: WW Norton, 125–30.Google Scholar
Krenek, E. (1974), ‘Serialism’, in Vinton, J. (ed.), Dictionary of Twentieth-Century Music, London: Thames and Hudson, 670–4.Google Scholar
Kroiter, R. and Koenig, W. (dirs.) (1959), Glenn Gould: Off the Road, National Film Board of Canada.Google Scholar
Krones, H. (ed.) (1999), Anton Webern: Persönlichkeit zwischen Kunst und Politik, Vienna: Böhlau.Google Scholar
Kroó, G. (1982), ‘New Hungarian Music’, Notes, 39:1, 4371.Google Scholar
Krukowski, D. (2017), The New Analog: Listening and Reconnecting in a Digital World, New York: The New Press.Google Scholar
Kudinš, J. (2018), ‘Latvian Music History in the Context of the 20th-Century Modernism and Postmodernism: Some Specific Issues of Local Historiography’, Musicological Annual, 54:2, 97139.Google Scholar
Kuhn, T. (1996), The Structure of Scientific Revolutions, Chicago: University of Chicago Press.Google Scholar
Kujumdzhiev, J. (2017), ‘Zur Rezeption der Wiener Schule in Bulgarien’, in Loos, H. (ed.), Musikgeschichte in Mittel- und Osteuropa, 20 vols., Leipzig: Gudrun Schröder, xix, 277–90.Google Scholar
Kurbatskaia, S. (1996), Seriinaia muzyka: voprosy istorii, teorii, estetiki, Moscow: Sfera.Google Scholar
Kurth, R. (1992), ‘Mosaic Polyphony: Formal Balance, Imbalance and Phrase Formation in the Prelude of Schoenberg’s Suite, Op. 25’, Music Theory Spectrum, 14:2, 188208.Google Scholar
Kurth, R. (1996), ‘Disregarding Schoenberg’s Twelve-Tone Rows: An Alternative Approach to Listening and Analysis for Twelve-Tone Music’, Theory and Practice, 21, 79122.Google Scholar
Kurtz, M. (1992), Stockhausen: A Biography, trans. R. Toop, London: Faber & Faber.Google Scholar
Kuss, M. (2013), ‘Ginastera (1916–1983): La Trayectoria de un Método’, Revista Argentina de Musicología, 14, 1552.Google Scholar
Kutsch, K.-J. and Riemens, L. (2012), Großes Sängerlexikon, Berlin: Walter de Gruyter.Google Scholar
Lachenmann, H. (1970), ‘Klangtypen der neuen Musik’, Zeitschrift für Musiktheorie, 1, 2030.Google Scholar
Lachenmann, H. ([1970] 1996), ‘Werkstatt-Gespräch’, in Häusler, J. (ed.), Musik als existentielle Erfahrung: Schriften, 1966–1995, Wiesbaden: Breitkopf & Härtel, 145–52.Google Scholar
Lake, W. E. (1986), ‘The Architecture of a Superarray Composition: Milton Babbitt’s String Quartet No. 5’, Perspectives of New Music, 24:2, 88111.Google Scholar
Laufer, M. (2015), ‘Reinscribing Modernism: Selected Episodes in Venezuelan Composition after 1950’, PhD dissertation, New York University.Google Scholar
Lawrence, T. (2003), Love Saves the Day: A History of American Dance Music Culture 1970–1979, Durham, NC: Duke University Press.Google Scholar
Lee, J. M. (2017), ‘National Identity Formation and Musical Modernism in Post-World War II Korea’, PhD dissertation, Duke University.Google Scholar
Leibowitz, R. (1947), Schoenberg et son école: l’étape contemporaine du langage musical, Paris: J. B. Janin.Google Scholar
Leibowitz, R. (1949a), Introduction à la musique de douze sons, Paris: L’Arche.Google Scholar
Leibowitz, R. (1949b), Schoenberg and His School: The Contemporary Stage of the Language of Music, trans. D. Newlin, New York: Philosophical Library.Google Scholar
Leleu, J.-L. and Decroupet, P. (2011), ‘La Sonate pour deux pianos de Michel Fano: technique sérielle et phrase musicale’, in Delaere, M. (ed.), Rewriting Recent Music History: The Development of Early Serialism, 1947–1957, Leuven: Peeters, 101–37.Google Scholar
Lester, J. (1968), ‘Pitch Structure Articulation in the Variations of Schoenberg’s Serenade’, Perspectives of New Music, 6:2, 2234.Google Scholar
Lewin, D. (1968), ‘Inversional Balance as an Organizing Force in Schoenberg’s Music and Thought’, Perspectives of New Music, 6:2, 121.Google Scholar
Lewin, D. (1976), ‘On Partial Ordering’, Perspectives of New Music, 14:2–15:1, 252–9.Google Scholar
Lewin, D. (1982), ‘Transformational Techniques in Atonal and Other Music Theories’, Perspectives of New Music, 21, 312–71.Google Scholar
Lewin, D. (1987), Generalized Musical Intervals and Transformations, New Haven: Yale University Press.Google Scholar
Lewin, D. (1990), ‘Klumpenhouwer Networks and Some Isographies That Involve Them’, Music Theory Spectrum, 12:1, 83120.Google Scholar
Lewin, D. (1993), Musical Form and Transformation: Four Analytic Essays, New Haven: Yale University Press.Google Scholar
Lewin, D. (1995), ‘Generalized Interval Systems for Babbit’s Lists, and for Schoenberg’s String Trio’, Music Theory Spectrum, 17:1, 81118.Google Scholar
Lewinski, W. E. von (1960), ‘Young Composers’, Die Reihe, 4, 14.Google Scholar
Li, Y. (2013), ‘Some Issues in the Scholarship of Music History of the Republic of China’, Journal of Xinghai Conservatory of Music, 133:4, 116.Google Scholar
Ligeti, G. (1958), ‘Pierre Boulez: Entscheidung und Automatik in der Structure Ia’, Die Reihe, 4, 3863.Google Scholar
Ligeti, G. ([1958] 1960a), ‘Pierre Boulez: Decision and Automatism in Structures Ia’, trans. L. Black, Die Reihe, 4, 3662.Google Scholar
Ligeti, G. (1960b), ‘Wandlungen der musikalischen Form’, Die Reihe, 7, 517.Google Scholar
Ligeti, G. ([1958–9] 1965), ‘Metamorphoses of Musical Form’, trans. C. Cardew, Die Reihe, 7, 519.Google Scholar
Ligeti, G. (1983), Ligeti in Conversation, trans. G. J. Schabert, S. E. Soulsby, T. Kilmartin, and G. Skelton, London: Eulenberg.Google Scholar
Ligeti, G. (1984), ‘Aspekte der Webernschen Kompositionstechnik’, in Metzger, H.-K. and Riehn, R. (eds.), Anton Webern II, Munich: text + kritik, 51104.Google Scholar
Ligeti, G. (2007a), ‘Form in der Neuen Musik’, in Lichtenfeld, M. (ed.), Gesammelte Schriften, Mainz: Schott, i, 185–99.Google Scholar
Ligeti, G. (2007b), ‘Kompositorische Tendenzen heute’, in Lichtenfeld, M. (ed.), Gesammelte Schriften, Mainz: Schott, i, 112–16.Google Scholar
Ligeti, G. (2007c), ‘Wandlungen der musikalischen Form’, in Lichtenfeld, M. (ed.), Gesammelte Schriften, Mainz: Schott, i, 85104.Google Scholar
Ligeti, G. (2007d), ‘Webern und die Tradition’, in Lichtenfeld, M. (ed.), Gesammelte Schriften, Mainz: Schott, i, 379–82.Google Scholar
Lindstedt, I. (2013), ‘Sonoristics and Serial Thinking: On the Distinctive Features of Works from the “Polish School”’, in Mantzourani, E. (ed.), Polish Music since 1945, Kraków: Musica Iagellonica, 300–10.Google Scholar
Lindstedt, I. (2018), ‘The Polish School of Composition in 20th-Century Music: A Recapitulation’, Musicology Today, 151:7, 3240.Google Scholar
Link, J. (2022), Elliot Carter’s Late Music, Cambridge: Cambridge University Press.Google Scholar
Lo, K. Y. (2015), ‘Functions of Silence in the Twelve-Tone Music of Anton Webern’, MA dissertation, McGill University.Google Scholar
Locanto, M. (2009), ‘“Composing with Intervals”: Intervallic Syntax and Serial Technique in Late Stravinsky’, trans. C. Jenkins, Music Analysis, 28, 221–66.Google Scholar
Lorenz, R. (n.d.), ‘Latin American Nationalism Deconstructed’, in R. Lorenz, Voices in Limbo: Identity, Representation, and Realities of Latin American Composers, http://ricardolorenz.com/research/realities-inside-the-limbo/. Accessed 13 April 2020.Google Scholar
Losada, C. C. (2006), ‘Simplifying Complex Multiplication’, Paper presented at the annual meeting of the Society for Music Theory, Los Angeles.Google Scholar
Losada, C. C. (2008), ‘Isography and Structure in the Music of Pierre Boulez’, Journal of Mathematics and Music, 2:3, 135–55.Google Scholar
Losada, C. C. (2014), ‘Complex Multiplication, Structure and Process: Harmony and Form in Boulez’s Structures II’, Music Theory Spectrum, 36:1, 86120.Google Scholar
Losada, C. C. (2016), ‘Middleground Structure in the Cadenza to Boulez’s Éclat’, Paper presented at the joint meeting of the Society for Music Theory and the American Musicological Society, Vancouver.Google Scholar
Losada, C. C. (2017), ‘Between Freedom and Control: Composing Out, Compositional Process, and Structure in the Music of Boulez’, Journal of Music Theory, 61:2, 201–42.Google Scholar
Losada, C. C. (2018), ‘The “Prismes” of Figures Doubles Prismes’, Mitteilungen der Paul Sacher Stiftung, 3, 4448.Google Scholar
Losada, C. C. (2019a), ‘Boulez and Mathematics’, in Illiano, R. (ed.), Twentieth-Century Music and Mathematics, Turnhout: Brepols, 91109.Google Scholar
Losada, C. C. (2019b), ‘The Diagonal Dimension: Concepts of Harmony in the Music of Pierre Boulez’, Paper presented at the symposium New Concepts of Harmony in Musical Composition 1945–1975, Istituto per la Musica Fondazione Giorgio Cini, Venice.Google Scholar
Losada, C. C. (2019c), ‘Middleground Structure in the Cadenza to Boulez’s Éclat’, Music Theory Online, 25:1, https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.losada.html.Google Scholar
Losada, C. C. (2019d), ‘Nécessité d’une orientation esthétique”: Techniques of Development in the Music of Boulez’, Music Theory and Analysis, 6:1, 87128.Google Scholar
Losada, C. C. (2021a), ‘Rotational Arrays in the Music of Boulez’, Paper presented at the annual meeting of the Society for Music Theory.Google Scholar
Losada, C. C. (2021b), ‘Pierre Boulez, América Latina y la vanguardia europea después de la Segunda Guerra Mundial’, Musica Theorica, 6:1: 140.Google Scholar
Lück, R. (ed.) (1968), Neue Sowjetische Klaviermusik. Cologne: Gerig.Google Scholar
Lunina, A. (2013), Kompozitor—malen’kaia planeta: besedy, Kyiv: Dukh i litera.Google Scholar
Luo, Q. (2016), ‘Shanghai “Enclave”: “Community of Music” and its Political and Cultural Space (ii)’, The Art of Music: Journal of the Shanghai Conservatory of Music, 2, 4461.Google Scholar
Lynn, D. L. (1992), ‘Genesis, Process, and Reception of Anton Webern’s Twelve-Tone Music: A Study of the Sketches for Opp. 17–19, 21, and 22/2 (1924–1930)’, PhD dissertation, Duke University.Google Scholar
Maconie, R. (1976), The Works of Karlheinz Stockhausen, London: Marion Boyars.Google Scholar
Maconie, R. (2011), ‘Care to Listen: Milton Babbitt and Information Science in the 1950s’, Tempo, 65:258, 2036.Google Scholar
Maderna, B. (1965), ‘La revolution dans la continuité’, Preuves, 177, 28–9.Google Scholar
Madrid, A. L. (2008), Sounds of the Modern Nation: Music, Culture, and Ideas in Post-Revolutionary Mexico, Philadelphia: Temple University Press.Google Scholar
Maggart, A. (2020), ‘Some Surface Level “Spurious Associations” between Milton Babbitt’s Whirled Series and Baseball’, Perspectives of New Music, 58:2, 157214.Google Scholar
Mailman, J. B. (2019), ‘Babbitt’s Beguiling Surfaces, Improvised Inside’, SMT V: Society for Music Theory Videocast Journal, 5. http://doi.org/10.30535/smtv.5.1.Google Scholar
Malvezzi, P. and Pirelli, G. (eds.) (1954), Lettere di condannati a morte della resistenza europea, Turin: Einaudi.Google Scholar
Manning, P. (2013), Electronic and Computer Music, New York: Oxford University Press.Google Scholar
Marion, M. (2005), ‘Louis Rougier, the Vienna Circle and the Unity of Science’, in Nemeth, E. and Roudet, N. (eds.), Paris–Wien: Enzyklopädieprojekte im Vergleich, Vienna: Springer, 151–77.Google Scholar
Masnikosa, M. (2009), ‘The Life and Work of Ljubica Marić: “Mulifariousness of One”’, New Sound, 33, 1235.Google Scholar
Mason, C. (1961), ‘Stravinsky’s New Work’, Tempo, 59, 514.Google Scholar
Mason, C. (1962), ‘Serial Procedures in the Ricercar II of Stravinsky’s “Cantata”’, Tempo, 61/2, 69.Google Scholar
Mathon, G., Feneyrou, L., and Ferrari, G. (eds.) (2007), À Bruno Maderna, Paris: Basalte.Google Scholar
Matsudaira, Y. A. and Benítez, J. M. (1998), ‘Matsudaira Yoritsune’s Path from Neoclassical to Aleatory Music’, Contemporary Music Review, 17:4, 513.Google Scholar
May, C. J. (2016), ‘System, Gesture, Rhetoric: Contexts for Rethinking Tintinnabuli in the Music of Arvo Pärt, 1960–1990’, PhD thesis, University of Oxford.Google Scholar
May, C. J. (2021), ‘Colorful Dreams: Exploring Pärt’s Soviet Film Music’, in Bouteneff, P. C., Engelhardt, J., and Saler, R. (eds.), Arvo Pärt: Sounding the Sacred, New York: Fordham University Press, 3667.Google Scholar
Mead, A. (1983), ‘Detail and the Array in Milton Babbitt’s My Compliments to Roger’, Music Theory Spectrum, 5, 89109.Google Scholar
Mead, A. (1987), ‘About About Time’s Time: A Survey of Milton Babbitt’s Recent Rhythmic Practice’, Perspectives of New Music, 25:1–2, 182235.Google Scholar
Mead, A. (1994), An Introduction to the Music of Milton Babbitt, Princeton: Princeton University Press.Google Scholar
Mead, A. (1997), ‘Still Being an American Composer: Milton Babbitt at Eighty’, Perspectives of New Music, 35:2, 101–26.Google Scholar
Mead, A. (2009), ‘The String Quartets of Milton Babbitt’, in Jones, E. (ed.), Intimate Voices: Aspects of Construction and Character in the Twentieth-Century String Quartet, Rochester: University of Rochester Press, 210–37.Google Scholar
Mead, A. (2011), ‘Parallel Processes: Milton Babbitt and “Total Serialism”’, in Delaere, M. (ed.), Rewriting Recent Music History: The Development of Early Serialism, 1947–1957, Leuven: Peeters, 926.Google Scholar
Medić, I. (2007), ‘The Ideology of Moderated Modernism in Serbian Music and Musicology’, Musicology, 7, 279–94.Google Scholar
Medić, I. (2019), ‘The Impossible Avant-Garde of Vladan Radovanović’, Musicological Annual, 55:1, 157–76.Google Scholar
Messiaen, O. (1994), Technique de mon langage musicale, Paris: Alphonse LeducGoogle Scholar
Messiaen, O. ([1949–92] 1994–2004), Traité de rythme, de couleur et d’ornithologie, 7 vols., Paris: Alphonse Leduc.Google Scholar
Metzger, H.-K. (1961), ‘Abortive Concepts in the Theory and Criticism of Music’, trans. L. Black, Die Reihe, 5, 21–9.Google Scholar
Meyer, L. B. (1967), Music, The Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture, Chicago: University of Chicago Press.Google Scholar
Michel, P. (2011), ‘Quelques aspects de la forme chez Gilbert Amy dans les années 1960 et 1970’, Il Saggiatore Musicale, 18:1–2, 109–37.Google Scholar
Middleton, R. (1983), ‘“Play it Again Sam”: Some Notes on the Productivity of Repetition in Popular Music’, Popular Music, 3, 235–70.Google Scholar
Mikawa, M. (2014), ‘Permutational Thought: Mauricio Kagel’s Antithese (1962)’, Perspectives of New Music, 52:3, 197222.Google Scholar
Mila, M. and Nono, L. (2010), Nulla di oscuro tra noi. Lettere 1952–1988, ed. De Benedictis, A. I. and Rizzardi, V., Milan: il Saggiatore.Google Scholar
Milin, M. (2009), ‘Serbian Music of the Second Half of the 20th Century: From Socialist Realism to Postmodernism’, in Romanou, K. (ed.), Serbian and Greek Art Music: A Patch to Western Music History, Bristol: Intellect, 8196.Google Scholar
Milin, M. (2015), ‘Cultural Isolation of Yugoslavia 1944–1960 and Its Impact on the Sphere of Music: The Case of Serbia’, Musicological Annual, 51:2, 149–61.Google Scholar
Milin, M. (2017), ‘Zur Rezeption der Ideen und der Tätigkeit der Wiener Schule in Serbien’, in Loos, H. (ed.), Musikgeschichte in Mittel- und Osteuropa, 20 vols., Leipzig: Gudrun Schröder, xix, 291305.Google Scholar
Miller, D. H. (2020), ‘Modernist Music for Children: Three Sketches of Anton Webern in the Midcentury United States’, Journal of Musicology, 37:4, 488517.Google Scholar
Mills, M. (2011), ‘On Disability Cybernetics: Helen Keller, Norbert Wiener, and the Hearing Glove’, differences, 22:2–3, 74111.Google Scholar
Mills, M. (2012), ‘Media and Prosthesis: The Vocoder, the Artificial Larynx, and the History of Signal Processing’, Qui Parle: Critical Humanities and Social Sciences, 21:2, 107–49.Google Scholar
Mirka, D. (2001), ‘To Cut the Gordian Knot: The Timbre System of Krzysztof Penderecki’, Journal of Music Theory, 45:2, 435–56.Google Scholar
Misch, I. (1998), ‘On the Serial Shaping of Stockhausen’s Gruppen für drei Orchester’, trans. F. Hentschel and J. Kohl, Perspectives of New Music, 36:1, 143–87.Google Scholar
Misch, I. (1999a), ‘“Wir können noch eine Dimension tiefer gehen … ”: Zur Gestaltung des Raumes in der elektroakustischen Musik Karlheinz Stockhausens’, in Misch, I. and von Blumröder, C. (eds.), Internationales Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998: Tagungsbericht, Saarbrücken: Pfau, 147–55.Google Scholar
Misch, I. (1999b), Zur Kompositionstechnik Karlheinz Stockhausens Gruppen für 3 Orchester (1955–57), Saarbrücken: Pfau.Google Scholar
Misch, I. and Bandur, M. (eds.) (2001), Karlheinz Stockhausen bei den Internationalen Ferienkursen für Neue Musik in Darmstadt 1951–1996: Dokumente und Briefe, Kürten: Stockhausen-Stiftung für Musik.Google Scholar
Misch, I. and Delaere, M. (eds.) (2017), Karel Goeyvaerts–Karlheinz Stockhausen: Briefwechsel / Correspondence 1951–1958, Kürten: Stockhausen-Stiftung für Musik.Google Scholar
Moldenhauer, H. [and R.] (1978), Anton von Webern: A Chronicle of his Life and Work, London: Victor Gollancz.Google Scholar
Moog-Grünewald, M. (1993), ‘Investigación de las Influencias y de la Recepción’, in Rall, D. (ed.), En busca del texto: teoría de la recepción literaria, Mexico City: Universidad Nacional Autónoma de México, 245–70.Google Scholar
Moore, A. F. (1995), ‘Serialism and Its Contradictions’, International Review of the Aesthetics and Sociology of Music, 26:1, 7795.Google Scholar
Móricz, K. (2008), Jewish Identities. Nationalism, Racism, and Utopianism in Twentieth-Century Music, Berkeley: University of California Press.Google Scholar
Morris, R. (1987), Composition with Pitch-Classes: A Theory of Compositional Design, New Haven: Yale University Press.Google Scholar
Morris, R. (1997), ‘Listening to Milton Babbitt’s Electronic Music: The Medium and the Message’, Perspectives of New Music, 35:2, 8599.Google Scholar
Morris, R. and Alegant, B. (1988), ‘The Even Partitions in Twelve-Tone Music’, Music Theory Spectrum, 10, 74101.Google Scholar
Morris, R. and Starr, D. (1974), ‘The Structure of All-Interval Series’, Journal of Music Theory, 18:2, 364–89.Google Scholar
Morris, R. and Starr, D. (1977), ‘A General Theory of Combinatoriality and the Aggregate (Parts i and ii)’, Perspectives of New Music, 16:1, 335 and 16:2, 5084.Google Scholar
Morton, L. (1952), ‘In Praise of Stravinsky’s New Work’, Frontier Music, November 1952, 21.Google Scholar
Mosch, U. (1990), ‘Disziplin und Indisziplin: Zum seriellen Komponieren im 2. Satz des Marteau sans maître von Pierre Boulez’, Musiktheorie, 5:1, 3966.Google Scholar
Mosch, U. (1997), ‘Wahrnehmungsweisen serieller Musik’, Musiktheorie, 12:1, 6170.Google Scholar
Moseley, R. (2016), Keys to Play: Music as a Ludic Medium from Apollo to Nintendo, Berkeley: University of California Press.Google Scholar
Murail, T. (2005), ‘Scelsi and L’Itinéraire: The Exploration of Sound’, Contemporary Music Review, 24:2–3, 181–5.Google Scholar
Nattiez, J.-J. (ed.) (1993), The Boulez–Cage Correspondence, trans. R. Samuels, Cambridge: Cambridge University Press.Google Scholar
Nattiez, J.-J. (2002), Pierre Boulez–John Cage: correspondance et documents, rev. R. Piencikowski, Mainz: Schott.Google Scholar
Nauck, Gisela (1997), Musik im Raum–Raum in der Musik: Ein Beitrag zur Geschichte der seriellen Musik, Stuttgart: F. Steiner.Google Scholar
Neidhöfer, C. (2007), ‘Maderna’s Serial Arrays’, Music Theory Online, 13:1. https://mtosmt.org/issues/mto.07.13.1/mto.07.13.1.neidhofer.html.Google Scholar
Neidhöfer, C. (2009), ‘Inside Luciano Berio’s Serialism’, Music Analysis, 28:2–3, 301–48.Google Scholar
Neidhöfer, C. (2012), ‘Berio at Work: Compositional Procedures in Circles, O King, Concerto for Two Pianos, Glossa, and Notturno’, in De Benedictis, A. I. (ed.), Luciano Berio: Nuove prospettive / New Perspectives, Florence: Olschki, 195233.Google Scholar
Nelson, A. (2015), The Sound of Innovation: Stanford and the Computer Music Revolution, Cambridge: The MIT Press.Google Scholar
Nicolas, F. (2005), ‘De l’intellectualité de Boulez (1): Ses références à la pensée scientifique’, www.entretemps.asso.fr/Nicolas/IM/. Accessed 1 May 2018.Google Scholar
Nicolas, F. (2010), ‘L’intellectualité musicale de Pierre Boulez et ses enjeux théoriques’, in Goldman, J., Nattiez, J.-J., and Nicolas, F. (eds.), La pensée de Pierre Boulez à travers ses écrits: actes du colloque tenu à l’École Normale Supérieure les 4 et 5 mars 2005 à l’occasion du quatre-vingtième anniversaire de Pierre Boulez, Paris: Delatour, 1762.Google Scholar
Nielinger, C. (2006), ‘The Song Unsung: Luigi Nono’s “Il canto sospeso”’, Journal of the Royal Musical Association, 131:1, 83150.Google Scholar
Nolan, C. (2011), ‘The First Canadian Serialist’, in Beckwith, J. and Cherney, B. (eds.), Weinzweig: Essays on His Life and Music, Waterloo: Wilfred Laurier Press.Google Scholar
Nono, L. (1956), ‘Die neue Kompositionstechnik’, Gravesaner Blätter, 2:6, 1920.Google Scholar
Nono, L. (1958), ‘Die Entwicklung der Reihentechnik’, Darmstädter Beiträge, 1, 2537.Google Scholar
Nono, L. ([1969] 1975), ‘Gespräch mit Hansjörg Pauli’, in Stenzl, J. (ed.), Texte: Studien zu seiner Musik, Zurich: Atlantis, 198209.Google Scholar
Nono, L. (2001), ‘Cori di Didone’, in Scritti e colloqui, ed. De Benedictis, A. I. and Rizzardi, V., Lucca: Riccordi, i, 432.Google Scholar
Nono, L. (2018a), ‘An Autobiography of the Author Recounted by Enzo Restagno’, in Nostalgia for the Future: Luigi Nono’s Selected Writings and Interviews, ed. De Benedictis, A. I. and Rizzardi, V., Oakland: University of California Press, 27122.Google Scholar
Nono, L. (2018b), ‘On the Development of Serial Technique’, in Nostalgia for the Future: Luigi Nono’s Selected Writings and Interviews, ed. De Benedictis, A. I. and Rizzardi, V., Oakland: University of California Press, 127–32.Google Scholar
Nono, L. (2018c), ‘Text—Music—Song’, in Nostalgia for the Future: Luigi Nono’s Selected Writings and Interviews, ed. De Benedictis, A. I. and Rizzardi, V., Oakland: University of California Press, 153–78.Google Scholar
Obert, S. (2008), Musikalische Kürze zu Beginn des 20. Jahrhunderts, Stuttgart: Franz Steiner.Google Scholar
Ogawa, T. and Mori, S. (1988), ‘The History of Musical Publications in Japan: Books on Western Music’, Fontes Artis Musicae, 35:2, 8995.Google Scholar
O’Hagan, P. (1997), ‘“Sonate, que me veux-tu?”: An Investigation of the Manuscript Sources in relation to the Third Sonata and the Issue of Performer Choice’, PhD dissertation, University of Surrey.Google Scholar
O’Hagan, P. (2007), ‘Pierre Boulez and the Project of “L’Orestie”’, Tempo, 61:241, 3452.Google Scholar
O’Hagan, P. (2017), Pierre Boulez and the Piano: A Study in Style and Technique, New York: Routledge.Google Scholar
O’Hagan, P. (2021), Pierre Boulez: sur Incises, trans. A. Descalzi, Geneva: Contrechamps.Google Scholar
Oja, C. J. (2000), Making Music Modern: New York in the 1920s, New York: Oxford University Press.Google Scholar
Olson, H. F. and Belar, H. (1955), ‘Electronic Music Synthesizer’, Journal of the Acoustical Society of America, 27:3, 595613.Google Scholar
Olson, H. F., Belar, H., and Timmens, J. (1960), ‘Electronic Music Synthesis’, Journal of the Acoustical Society of America, 32:3, 311–19.Google Scholar
Orosz, J. (2018), ‘The Twelve-Tone Music of Roque Cordero’, Latin American Music Review, 39:2, 137–59.Google Scholar
Ōtagaro, M. (1931), ‘Trends of Recent Music’, trans. M. Tianrui, Journal of Minute Sound, 1, 4655.Google Scholar
Owen, O. (2014), ‘TR-808 Drum Machine Flashback’, www.rolandus.com/blog/2014/02/13/tr-808/. Accessed 11 September 2020.Google Scholar
Page, T. (1983), ‘The New Romance with Tonality’, New York Times, 29 May, SM22.Google Scholar
Patterson, N. (2011), ‘The Archives of the Columbia-Princeton Electronic Music Center’, Notes, 67:3, 483502.Google Scholar
Paz, J. C. (1958), Arnold Schönberg: o, El fin de la era tonal, Buenos Aires: Nueva Visión.Google Scholar
Peel, J. and Cramer, C. (1988), ‘Correspondences and Associations in Milton Babbitt’s Reflections’, Perspectives of New Music, 26:1, 144207.Google Scholar
Pekarsky, M. (2007), ‘LAB-VAM’, Muzykal’naia akademiia, 1, 2431.Google Scholar
Peles, S. (1998), ‘Serialism and Complexity’, in Nichols, D. (ed.), The Cambridge History of American Music, Cambridge: Cambridge University Press, 496516.Google Scholar
Peles, S. (2004), ‘“Ist Alles Eins”: Schoenberg and Symmetry’, Music Theory Spectrum, 26:1, 5785.CrossRefGoogle Scholar
Pereira de Tugny, R. (ed.) (1998), Pierre Boulez/André Schaeffner: Correspondence 1954–1970, Paris: Fayard.Google Scholar
Pereira de Tugny, R. (2006), ‘L’autre moitié de l’art’, in Decroupet, P. and Leleu, J.-L. (eds.), Pierre Boulez: Techniques d’écriture et enjeux esthétiques, Geneva: Contrechamps, 299317.Google Scholar
Perle, G. (1960), ‘Die Reihe Vol. iii: Musical Craftsmanship: A Review’, Journal of Music Theory, 4:1, 1024.Google Scholar
Perle, G. (1963), Serial Composition and Atonality, Berkeley: University of California Press.Google Scholar
Perle, G. (1989), The Operas of Alban Berg: Vol. 2, Lulu, Berkeley: University of California Press.Google Scholar
Perle, G. (2001), Style and Idea in the ‘Lyric Suite’ of Alban Berg, Hillsdale: Pendragon.Google Scholar
Perloff, N. (1983), ‘Klee and Webern: Speculations on Modernist Theories of Composition’, The Musical Quarterly, 69:2, 180208.Google Scholar
Perry, I. (2004), Prophets of the Hood: Politics and Poetics in Hip Hop, Durham, NC: Duke University Press.Google Scholar
Peters, G. (1999), ‘“How Creation Is Composed”: Spirituality in the Music of Karlheinz Stockhausen’, Perspectives of New Music, 37:1, 97131.Google Scholar
Peters, G. (2003), Heiliger Ernst im Spiel: Studien zur Musik von Karlheinz Stockhausen / Holy Seriousness in the Play: Essays on the Music of Karlheinz Stockhausen, Kürten: Stockhausen.Google Scholar
Peyser, J. (1969) ‘The Affair Proved Traumatic’, New York Times, 12 January, D17Google Scholar
Phipps, G. (1986), ‘The Tritone as an Equivalency: A Contextual Perspective for Approaching Schoenberg’s Music’, Journal of Musicology, 4:1, 5169.Google Scholar
Piencikowski, R. (1980), ‘René Char et Pierre Boulez: Esquisse analytique du Marteau sans maître’, Schweizer Beitrage zur musikwissenschaft, 4, 193264.Google Scholar
Piencikowski, R. (1985), ‘Nature morte avec guitare’, in Häusler, J. (ed.), Pierre Boulez: Eine Festschrift zum 60. Geburtstag am 26. März 1985, Vienna: Universal, 6681.Google Scholar
Piencikowski, R. (1988), ‘Règlement de comptes – Incontri de Luigi Nono’, dissonanz/dissonance, 15, 1517.Google Scholar
Piencikowski, R. (1993), ‘“Assez lent, suspendu, comme imprévisible”: quelques aperçus sur les travaux d’approche d’éclat’, Genesis, 4, 5168.Google Scholar
Piencikowski, R. (1997), ‘Inschriften: Ligeti, Xenakis, Boulez’, Musiktheorie, 12:1, 716.Google Scholar
Piencikowski, R. (2000), ‘Pierre Boulez’s Le Marteau sans maître’, in Newsom, J. and Mann, A. (eds.), The Rosaleen Moldenhauer Memorial: Music History from Primary Sources, A Guide to the Moldenhauer Archives, Washington: Library of Congress, 134–41.Google Scholar
Piencikowski, R. (2002), ‘ … iacta est’, in Nattiez, J.-J. (ed.), Pierre Boulez/John Cage: Correspondance et documents, Mainz: Schott, 4160.Google Scholar
Piencikowski, R. (2016), ‘Fragmentary Reflections on the Boulezian “non finite’, in Campbell, E. and Decroupet, P. (eds.), Pierre Boulez Studies, Cambridge: Cambridge University Press, 93107.CrossRefGoogle Scholar
Polin, C. (1984), ‘Interviews with Soviet Composers’, Tempo, 151, 106.Google Scholar
Pollack, H. (1992), Harvard Composers: Walter Piston and his Students, from Elliot Carter to Frederic Rzewski, Mentuchen: Scarecrow.Google Scholar
Pompe, G. (2018), ‘Slovenian Twelve-Tone Music’, De musica disserenda, 14:2, 89112.Google Scholar
Pople, A. (1991), Berg: Violin Concerto (Cambridge Music Handbooks), Cambridge: Cambridge University Press.Google Scholar
Pople, A. (1997), ‘In the Orbit of Lulu’, in Pople, A. (ed.), The Cambridge Companion to Berg, Cambridge: Cambridge University Press, 204–26.Google Scholar
Pousseur, H. (1955), ‘Anton Weberns organische Chromatik’, Die Reihe, 2, 5665.Google Scholar
Pousseur, H. (1956), ‘Da Schoenberg a Webern: una mutazione’, Incontri musicali, 1, 339.Google Scholar
Pousseur, H. (1968), ‘L’Apothéose de Rameau (Essai sur la question harmonique)’, Revue d’esthétique, 21:2–3, 105–72.Google Scholar
Pousseur, H. (1969), ‘Serial Music’, in Apel, W. (ed.), Harvard Dictionary of Music, Cambridge, MA: Harvard University Press, 766–71.Google Scholar
Pousseur, H. (1970), Fragments théoriques, i: Sur la musique expérimentale, Brussels: Éditions de l’Université de Bruxelles.Google Scholar
Pousseur, H. (2004), ‘La foire de Votre Faust’, in Écrits théoriques, ed. Decroupet, P., Sprimont: Mardaga, 319–43.Google Scholar
Pousseur, H. (2009), ‘Stravinsky selon Webern selon Stravinsky’, in Decroupet, P. (ed.), Série et harmonie généralisées: une théorie de la composition musicale, Wavre: Mardaga, 89155.Google Scholar
Pritchett, J. (1989), ‘Understanding John Cage’s Chance Music: An Analytical Approach’, in Fleming, R. and Duckworth, W. (eds.), John Cage at Seventy-Five, Lewisburg: Bucknell University Press, 249–61.Google Scholar
Quanten, M. (2009), ‘Muzikale tijd van reeks tot algoritme. Temporele strategieën in het werk van Karlheinz Stockhausen en Gottfried Michael Koenig (1952–1966)’, PhD thesis, University of Leuven.Google Scholar
Quanten, M. (2011), ‘The Time of the Tape: Gottfried Michael Koenig’s Zwei Klavierstücke’, in Delaere, M. (ed.), Rewriting Recent Music History: The Development of Early Serialism, 1947–1957, Leuven: Peeters, 161–80.Google Scholar
Quick, M. S. (2011), ‘Performing Modernism: Webern on Record’, PhD thesis, King’s College London.Google Scholar
Quillen, W. (2010), ‘After the End: New Music in Russia from Perestroika to the Present’, PhD dissertation, University of California, Berkeley.Google Scholar
Rao, N. Y. (2002), ‘Hearing Pentatonicism through Serialism: Integrating Different Traditions in Contemporary Chinese Music’, Perspectives of New Music, 40:2, 190232.Google Scholar
Rathert, W. (2012), ‘“Das verteufelte Serielle”. Observations sur les Perspektiven de Bernd Alois Zimmermann’, in Michel, P., Henrich, H., and Albèra, P. (eds.), Regards croisés sur Bernd Alois Zimmermann, Geneva: Contrechamps, 101–12.Google Scholar
Reich, W. (1930), ‘Alban Berg’, Die Musik, 22:5, 347–53.Google Scholar
Reich, W. (1974), Alban Berg, trans. C. Cardew, New York: Vienna House.Google Scholar
Reid, G. (2004), ‘The History of Roland: Part ii’, Sound on Sound, www.soundonsound.com/people/history-roland-part-2. Accessed 11 September 2020.Google Scholar
Rich, M. M. (2016), ‘Theodor Adorno and Alban Berg: The Crossroads between Philosophy and Music’, PhD dissertation, University of Florida.Google Scholar
Risset, J.-C. (n.d.), ‘Biographie’, IRCAM, http://brahms.ircam.fr/composers/composer/2734/. Accessed 5 August 2020.Google Scholar
Rizzardi, V. (2004), ‘La “Nuova Scuola Veneziana”, 1948–1951’, in Borio, G., Morelli, F., and Rizzardi, V. (eds.), Le musiche degli anni Cinquanta, Florence: Olschki, 159.Google Scholar
Rizzardi, V. (2011), ‘The Tone Row, Squared: Bruno Maderna and the Birth of Serial Music in Italy’, in Delaere, M. (ed.), Rewriting Recent Music History: The Development of Early Serialism, 1947–1957, Leuven: Peeters, 4565.Google Scholar
Robinson, D. (2020), Hungry Listening: Resonant Theory for Indigenous Sound Studies, Minneapolis: University of Minnesota Press.Google Scholar
Rodgers, T. (2010), Pink Noises: Women on Electronic Music and Sound, Durham, NC: Duke University Press.Google Scholar
Rorem, N. (2001), ‘Poetry of Music’, in McClatchy, J. D. (ed.), A Ned Rorem Reader, New Haven: Yale University Press, 111–17.Google Scholar
Rose, T. (2004), Black Noise: Rap Music and Black Culture in Contemporary America, Middletown: Wesleyan University Press.Google Scholar
Ross, A. (2008), The Rest is Noise: Listening to the Twentieth Century, London: Fourth Estate.Google Scholar
Rougier, L. (1920), La Philosophie géométrique d’Henri Poincaré, Paris: Alcan.Google Scholar
Rougier, L. (1956), ‘La Nouvelle Théorie de la Connaissance’, La Nouvelle Revue Française, 4:42, 9991015.Google Scholar
Rupprecht, P. (2017), British Musical Modernism: The Manchester Group and Their Contemporaries, Cambridge: Cambridge University Press.Google Scholar
Sabbe, H. (1977), Het muzikale serialisme als techniek en als denkmethode, Ghent: Rijksuniversiteit Gent.Google Scholar
Said, A. (2013), The BeatTips Manual: The Art of Beatmaking, the Hip Hop/Rap Music Tradition, and the Common Composer, New York: Superchamp.Google Scholar
Salem, J. (2014), ‘Boulez Revised: Compositional Process as Aesthetic Critique in the Composer’s Formative Works’, PhD dissertation, Yale University.Google Scholar
Salem, J. (2016), ‘Serial Processes, Agency and Improvisation’, in Campbell, E. and O’Hagan, P. (eds.), Pierre Boulez Studies, Cambridge: Cambridge University Press, 221–45.Google Scholar
Salem, J. (2018), ‘Boulez’s Künstlerroman: Using blocs sonores to Overcome Anxieties and Influence in Le Marteau sans maître’, Journal of the American Musicological Society, 71:1, 109–52.Google Scholar
Salem, J. (2019), ‘Teasing the Ever-Expanding Sonnet from Pierre Boulez’s Musical Poetics’, Music Theory Spectrum, 41:2, 244–70.Google Scholar
Salkind, M. (2019), Do You Remember House? Chicago’s Queer of Color Undergrounds, New York: Oxford University Press.Google Scholar
Samuel, C. (1976), Conversations with Olivier Messiaen, trans. F. Aprahamian, London: Stainer & Bell.Google Scholar
Sandu-Dediu, V. (2007), ‘Dodecaphonic Composition in 1950s and 1960s Europe: The Ideological Issue of Rightist or Leftist Orientation’, Journal of Musicological Research, 26, 177–92.Google Scholar
Santos, S. J. dos (2014), Narratives of Identity in Alban Berg’s ‘Lulu’, Rochester: University of Rochester Press.Google Scholar
Sawabe, Y. (1992), Neue Musik in Japan von 1950 bis 1960: Stilrichtungen und Komponisten, Regensburg: Gustav Bosse.Google Scholar
Schaller, E. (1997), Klang und Zahl, Saarbrücken: Pfau.Google Scholar
Schloss, J. G. (2014), Making Beats: The Art of Sample-Based Hip Hop, Middletown: Wesleyan University Press.Google Scholar
Schmelz, P. (2002), ‘Listening, Memory, and the Thaw: Unofficial Music and Society in the Soviet Union, 1956–1974’, PhD dissertation, University of California, Berkeley.Google Scholar
Schmelz, P. (2004), ‘Shostakovich’s “Twelve-Tone” Compositions and the Politics and Practice of Soviet Serialism’, in Fay, L. E. (ed.), Shostakovich and His World, Princeton: Princeton University Press, 303–54.Google Scholar
Schmelz, P. (2008), ‘After Prokofiev’, in Morrison, S. (ed.), Sergey Prokofiev and His World, Princeton: Princeton University Press, 493529.Google Scholar
Schmelz, P. (2009), Such Freedom, If Only Musical: Unofficial Soviet Music during the Thaw, New York: Oxford University Press.Google Scholar
Schmelz, P. (2010), ‘Review: Twelve-Tone Music in America’, Notes, 67:2, 320–3.Google Scholar
Schmelz, P. (2015), ‘Intimate Histories of the Musical Cold War: Fred Prieberg and Igor Blazhkov’s Unofficial Diplomacy’, in Gienow-Hecht, J. (ed.), Music and International History, New York: Berghahn, 189225.Google Scholar
Schmelz, P. (2017), ‘Selling Schnittke: Late Soviet Censorship in the Cold War Marketplace’, in Hall, P. (ed.), The Oxford Handbook of Musical Censorship, Oxford: Oxford University Press, 413–52.Google Scholar
Schmelz, P. (2020), Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR, New York: Oxford University Press.Google Scholar
Schmusch, R. (2012), ‘Das musikalische Hörerlebnis im Zerrspiegel seiner willkommen Deutung? Zu Schönbergs Bevorwortung der Webern’schen Bagatellen op. 9’, in Obert, S. (ed.), Wechselnde Erscheinung: Sechs Perspektiven auf Anton Weberns sechste Bagatelle, Vienna: Lafite, 129–46.Google Scholar
Schnebel, D. (1972), ‘Das musikalische Material: Verhältnisse und Aktionen’, in Denkbare Musik: Schriften 1952–1972, ed. Zeller, H. R., Cologne: DuMont, 286–8.Google Scholar
Schoenberg, A. (1975a), ‘Composition with Twelve Tones’, in Style and Idea: Selected Writings, ed. Stein, L., trans. L. Black, London: Faber & Faber, 214–45.Google Scholar
Schoenberg, A. ([1926] 1975b), ‘Opinion or Insight?’, in Style and Idea: Selected Writings, ed. Stein, L., trans. L. Black, London: Faber & Faber, 258–64.Google Scholar
Schoenberg, A. (1975c), ‘New Music, Outmoded Music, Style and Idea’, in Black, L. (ed.), Style and Idea: Selected Writings of Arnold Schoenberg, ed. Stein, L., trans. L. Black, Berkeley: University of California Press, 122–3.Google Scholar
Schoenberg, A. (1975d), Sämtliche Werke, Section ii: Klavier und Orgelmusik, Series B, Vol. iv, Werke für Klavier zu zwei Händen, Kritischer Bericht, Skizzen, Fragmente, ed. Brinkmann, Reinhold, Mainz: Schott; Vienna: Universal.Google Scholar
Schoenberg, A. (1995), The Musical Idea and the Logic, Technique, and Art of its Presentation, ed. and trans. Carpenter, Patricia andNeff, Severine, New York: Columbia University Press.Google Scholar
Schoenberg, A. (2011), ‘Variationen für Orchester, op. 31’. Partitura analizzata da Luigi Nono [facsimile], Belluno and Venice: Colophon.Google Scholar
Schuijer, M. (2008), Analyzing Atonal Music: Pitch-Class Set Theory and Its Context, Rochester: University of Rochester Press.Google Scholar
Schuller, G. (1986), The Musical Worlds of Gunther Schuller, New York: Oxford University Press.Google Scholar
Schumacher, R. (1998), ‘Konzepte von Weltmusik’, in Misch, I. and von Blumröder, C. (eds.), Internationales Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998: Tagungsbericht, Saarbrücken: Pfau, 95102.Google Scholar
Schwarz, B. (1965), ‘Arnold Schoenberg in Soviet Russia’, Perspectives of New Music, 4:1, 8694.Google Scholar
Sedak, E. (2017), ‘Zur Rezeption der Wiener Schule in Agram/Zagreb und Kroatien’, in Loos, H. (ed.), Musikgeschichte in Mittel- und Osteuropa, 20 vols., Leipzig: Gudrun Schröder, xix, 162–77.Google Scholar
Segall, C. (2018), ‘Prokofiev’s Symphony No. 2, Yuri Kholopov, and the Theory of Twelve-Tone Chords’, Music Theory Online, 24:2, 1 January. https://mtosmt.org/issues/mto.18.24.2/mto.18.24.2.segall.html.Google Scholar
Segall, C. (2020), ‘Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto’, in Bazayev, I. and Segall, C. (eds.), Analytical Approaches to 20th-Century Russian Music: Tonality, Modernism, Serialism, New York: Routledge, 243–63Google Scholar
Sewell, A. (2020), Wendy Carlos: A Biography, New York: Oxford University Press.Google Scholar
Shapiro, P. (2005), Turn the Beat Round: The Secret History of Disco, London: Faber & Faber.Google Scholar
Shneerson, G. (1960), O muzyke zhivoi i mertvoi [first edition], Moscow: Sovetskii kompozitor.Google Scholar
Shneerson, G. (1964), O muzyke zhivoi i mertvoi [second revised and expanded edition], Moscow: Sovetskii kompozitor.Google Scholar
Shreffler, A. C. (1994), ‘“Mein Weg geht jetzt vorüber”: The Vocal Origins of Webern’s Twelve-Tone Composition’, Journal of the American Musicological Society, 47:2, 275339.Google Scholar
Shreffler, A. C. (2000), ‘The Myth of Empirical Historiography: A Response to Joseph N. Straus’, The Musical Quarterly, 84:1, 30–9.Google Scholar
Shreffler, A. C. (2005), ‘Ideologies of Serialism: Stravinsky’s Threni and the Congress for Cultural Freedom’, in Berger, K. and Newcomb, A. (eds.), Music and the Aesthetics of Modernity, Cambridge, MA: Harvard University Press, 217–45.Google Scholar
Shul’gin, D. (2004), Gody neizvestnosti Al’freda Shnitke, Moscow: Kompozitor.Google Scholar
Siegmeister, E. (1977), ‘A New Day Is Dawning for American Composers’, New York Times, 23 January, 15.Google Scholar
Siitan, Toomas (2021), ‘Sounding Structure, Structured Sound’, in Bouteneff, P. C., Engelhardt, J., and Saler, R. (eds.), Arvo Pärt: Sounding the Sacred, New York: Fordham University Press, 2535.Google Scholar
Silva, F. (1999), ‘Camargo Guarnieri e Mario de Andrade’, Latin American Music Review / Revista de Música Latinoamericana, 20:2, https://doi.org/10.2307/780020.Google Scholar
Sil’vestrov, V. and Munipov, A. (2017), ‘“Kogda iz muzyki ischezaet pustiakovost’, sluchaetsia beda”: bol’shoi razgovor s Valentinom Sil’vestrovym’, part 2, colta.ru, 2 October, www.colta.ru/articles/music_classic/16160-kogda-iz-muzyki-ischezaet-pustyakovost-sluchaetsya-beda.Google Scholar
Smith, J. A. (1986), Schoenberg and His Circle, New York: Schirmer.Google Scholar
Smith Brindle, R. (1966), Serial Composition, Oxford: Oxford University Press.Google Scholar
Smith Brindle, R. (1975), The New Music: The Avant-Garde since 1945, Oxford: Oxford University Press.Google Scholar
Smyth, D. H. (2000), ‘Stravinsky as Serialist: The Sketches for “Threni”’, Music Theory Spectrum, 22:2, 205–24.Google Scholar
Spies, C. (1967), ‘Some Notes on Stravinsky’s Requiem Settings’, Perspectives of New Music, 5:2, 98123.Google Scholar
Spies, C. (1974), ‘Vortrag / 12 T K / Princeton’, Perspectives of New Music, 13:1, 58136.Google Scholar
Spurný, L. (2005), ‘Alois Hába between Tradition and Innovation’, Czech Musical Quarterly, 3, 18.Google Scholar
Stadlen, P. (1958), ‘Serialism Reconsidered’, The Score, 22, 1227.Google Scholar
Stadlen, P. (1972), ‘Das pointillistische Missverständnis’, Österreichiische Musikzeitschrift, 27:3, 152–61.Google Scholar
Stadlen, P. (1979), ‘Preface’, in Anton Webern, Variationen für Klavier, ed. Stadlen, P., Vienna: Universal Edition.Google Scholar
Stallings, S. (2015), ‘Cordero, Roque’, Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.A2282442.Google Scholar
Štědroň, M. (1984), ‘Dodekafonie a česká hudba’ in R. Pečman, Sborník prací Filozofické fakulty brněnské univerzity, Brno: Masarykova univerzita, 165–69.Google Scholar
Stein, E. (1924), ‘Neue Formprinzipien’, Musikblätter des Anbruch, 6:8–9, 286303.Google Scholar
Stenzl, J. (1972), ‘Luigi Nonos Incontri’, Melos, 39, 150–53.Google Scholar
Stephan, R. (1988), Berg: Violinkonzert, Munich: Wilhelm Fink.Google Scholar
Stockhausen, K. (1958), ‘For the 15th September, 1955’, Die Reihe, 2, 37–9.Google Scholar
Stockhausen, K. ([1957] 1959), ‘ … how time passes … ’, trans. C. Cardew, Die Reihe, 3, 1040.Google Scholar
Stockhausen, K. (1961), ‘Music in Space’, trans. R. König, Die Reihe, 5, 6782.Google Scholar
Stockhausen, K. (1963a), ‘Arbeitsbericht 1952/53: Orientierung’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 32–8.Google Scholar
Schnebel, D. ([1961] 1963b), ‘Erfindung und Entdeckung: Ein Beitrag zur Form-Genese’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 222–58.Google Scholar
Schnebel, D. (1963c), ‘Gruppenkomposition: Klavierstück I (Anleitung zum Hören)’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 6374.Google Scholar
Schnebel, D. (1963d), ‘Musik im Raum’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 152–75.Google Scholar
Schnebel, D. ([1952] 1963e), ‘Situation des Handwerks (Kriterien der punktuellen Musik)’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 1821.Google Scholar
Schnebel, D. ([1954] 1963f), ‘Von Webern zu Debussy: Bemerkungen zur statistischen Form’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 7585.Google Scholar
Schnebel, D. (1963g), ‘Weberns Konzert für 9 Instrumente op. 24: Analyse des ersten Satzes’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 2431.Google Scholar
Schnebel, D. (1963h), ‘ … wie die Zeit vergeht … ’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 99139.Google Scholar
Schnebel, D. (1963i), ‘Zur Situation des Metiers (Klangkomposition)’, in Texte zur elektronischen und instrumentalen Musik, Vol. 1: Aufsätze 1952–1962 zur Theorie des Komponierens, ed. Schnebel, D., Cologne: DuMont, 4561.Google Scholar
Schnebel, D. (1964a), ‘Aktuelles’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 51–7.Google Scholar
Schnebel, D. (1964b), ‘Komposition 1953 Nr. 2. Studie I. Analyse’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 2336.Google Scholar
Schnebel, D. (1964c), ‘Kreuzspiel (1951) für Oboe, Baßklarinette, Klavier und Schlagzeug’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 1112.Google Scholar
Schnebel, D. (1964d), ‘Luigi Nono, Musik und Sprache II’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 157–66.Google Scholar
Schnebel, D. (1964e), ‘Music and Speech’, trans. R. Koenig, Die Reihe, 6, 4064.Google Scholar
Schnebel, D. (1964f), ‘Musik kennt keine Grenzen?’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 210–11.Google Scholar
Schnebel, D. (1964g), ‘Musik und Sprache III’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 5868.Google Scholar
Schnebel, D. (1964h), ‘Nr. 1 Kontra-Punkte für 10 Instrumente (1953)’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 20.Google Scholar
Schnebel, D. (1964i), ‘Nr. 5 Zeitmaße (1955/56) für Oboe, Flöte, Englisch-Horn, Klarinette, Fagott’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 46–8.Google Scholar
Schnebel, D. (1964j), ‘Nr. 7: Klavierstück XI (1956)’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 6970.Google Scholar
Schnebel, D. (1964k), ‘Nr. 8 Gesang der Jünglinge (1956)’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 4950.Google Scholar
Schnebel, D. (1964l), ‘Nr. 13: Momente für Sopran, 4 Chorgruppen und 13 Instrumentalisten (1961/62)’, in Texte zu eigenen Werken, zur Kunst Anderer, Aktuelles, Vol. 2: Aufsätze 1952–1962 zur musikalischen Praxis, ed. Schnebel, D., Cologne: DuMont, 130–33.Google Scholar
Schnebel, D. (1971a), ‘Aus den sieben Tagen’, in Texte zur Musik 1963–1970, Vol. 3: Einführungen und Projekte, Kurse, Sendungen, Standpunkte, Nebennoten, ed. Schnebel, D., Cologne: DuMont, 123–34.Google Scholar
Schnebel, D. (1971b), Ein Schlüssel für Momente, Kassel: Boczkowski.Google Scholar
Schnebel, D. (1971c), ‘Hymnen. Elektronische und Konkrete Musik mit Solisten’, in Texte zur Musik 1963–1970, Vol. 3: Einführungen und Projekte, Kurse, Sendungen, Standpunkte, Nebennoten, ed. Schnebel, D., Cologne: DuMont, 96101.Google Scholar
Schnebel, D. (1971d), ‘Interview über Telemusik’, in Texte zur Musik 1963–1970, Vol. 3: Einführungen und Projekte, Kurse, Sendungen, Standpunkte, Nebennoten, ed. Schnebel, D., Cologne: DuMont, 7584.Google Scholar
Schnebel, D. (1971e), ‘PLUS – MINUS. 2 x 7 Seiten für Ausarbeitungen’, in Texte zur Musik 1963–1970, Vol. 3: Einführungen und Projekte, Kurse, Sendungen, Standpunkte, Nebennoten, ed. Schnebel, D., Cologne: DuMont, 4050.Google Scholar
Schnebel, D. (1971f), ‘Solo für Melodie-Instrument mit Rückkopplung (1966)’, in Texte zur Musik 1963–1970, Vol. 3: Einführungen und Projekte, Kurse, Sendungen, Standpunkte, Nebennoten, ed. Schnebel, D., Cologne: DuMont, 8591.Google Scholar
Schnebel, D. (1978a), ‘Interview II: Zur Situation (Darmstädter Ferienkurse ’74)’, in Texte zur Musik 1970–1977, Vol. 4: Werk-Einführungen, Elektronische Musik, Weltmusik, Vorschläge und Standpunkte, Zum Werk Anderer, ed. von Blumröder, C, Cologne: DuMont, 550–5.Google Scholar
Schnebel, D. (1978b), ‘Interview III: “Denn alles ist Musik … “’, in Texte zur Musik 1970–1977, Vol. 4: Werk-Einführungen, Elektronische Musik, Weltmusik, Vorschläge und Standpunkte, Zum Werk Anderer, ed. by von Blumröder, C., Cologne: DuMont, 569–86.Google Scholar
Schnebel, D. (1989a), ‘Multiformale Musik’, in Texte zur Musik 1977–1984, Vol. 5: Komposition, ed. von Blumröder, C., Cologne: DuMont, 667–8.Google Scholar
Schnebel, D. (1989b), ‘Stockhausen – Sound International’, in Texte zur Musik 1977–1984, Vol. 6: Interpretation, ed. von Blumröder, C., Cologne: DuMont, 347–66.Google Scholar
Schnebel, D. (1989c), ‘Wille zur Form und Wille zum Abenteuer’, in Texte zur Musik 1977–1984, Vol. 6: Interpretation, ed. von Blumröder, C., Cologne: DuMont, 320–46.Google Scholar
Schnebel, D. (1995), Liner notes to Hymnen: Elektronische und Konkrete Musik (1966–67), Stockhausen 10 A-D.Google Scholar
Schnebel, D. (2001), Gesang der Jünglinge: Faksimile-Edition, Kürten: Stockhausen.Google Scholar
Schnebel, D. (2014a), ‘Art Music’, in Texte zur Musik 1991–1998, Vol. 14: Über Musik, Kunst, Gott und die Welt, Blickwinkel, Komponistenalltag, ed. Misch, I., Kürten: Stockhausen, 193210.Google Scholar
Schnebel, D. (2014b), ‘Cosmic Pulses (2007): Elektronische Musik 13. Stunde aus Klang – Die 24 Stunden des Tages’, in Texte zur Musik 1998–2007, Vol. 17: KLANG-Zyklus, Geist und Musik, Ausblicke, ed. Misch, I., Kürten: Stockhausen, 6578.Google Scholar
Schnebel, D. (2014c), ‘Elektronischer Gottsucher’, in Texte zur Musik 1991–1998, Vol. 14: Über Musik, Kunst, Gott und die Welt, Blickwinkel, Komponistenalltag, ed. Misch, I., Kürten: Stockhausen, 141–57.Google Scholar
Schnebel, D. (2014d), ‘Es bleibt noch fast alles zu entdecken’, in Texte zur Musik 1998–2007, Vol. 17: KLANG-Zyklus, Geist und Musik, Ausblicke, ed. Misch, I., Kürten: Stockhausen, 253–61.Google Scholar
Schnebel, D. (2014e), ‘Freiheit – Das Neue – Das Geistig-Geistliche’, in Texte zur Musik 1991–1998, Vol. 14: Über Musik, Kunst, Gott und die Welt, Blickwinkel, Komponistenalltag, ed. Misch, I., Kürten: Stockhausen, 211–34.Google Scholar
Schnebel, D. (2014f), ‘Fünf Gedanken zu Momente’, in Texte zur Musik 1991–1998, Vol. 11: Nachsätze, Zu KREUZSPIEL (1951) bis LIBRA (1977), Werktreue, Ergänzendes zu LICHT, ed. Misch, I., Kürten: Stockhausen, 121–36.Google Scholar
Schnebel, D. (2014g), ‘Jeden Tag wird Neues entdeckt’, in Texte zur Musik 1991–1998, Vol. 14: Über Musik, Kunst, Gott und die Welt, Blickwinkel, Komponistenalltag, ed. Misch, I., Kürten: Stockhausen, 352.Google Scholar
Schnebel, D. (2014h), ‘Jedes Werk ist wie ein neues Wesen’, in Texte zur Musik 1998–2007, Vol. 17: KLANG-Zyklus, Geist und Musik, Ausblicke, ed. Misch, I., Kürten: Stockhausen, 305–15.Google Scholar
Schnebel, D. (2014i), ‘Kunstmusik braucht Radikalität, Konzentration, Unabhängigkeit’, in Texte zur Musik 1991–1998, Vol. 14: Über Musik, Kunst, Gott und die Welt, Blickwinkel, Komponistenalltag, ed. Misch, I., Kürten: Stockhausen, 307–15.Google Scholar
Schnebel, D. (2014j), ‘Phantasie schafft Zukunft’, in Texte zur Musik 1991–1998, Vol. 12: FREITAG aus LICHT, Neue Konzertpraxis, ed. Misch, I., Kürten: Stockhausen, 261–93.Google Scholar
Schnebel, D. (2014k), ‘Seriell is ja eine geistige Haltung’, in Texte zur Musik 1998–2007, Vol. 17: KLANG-Zyklus, Geist und Musik, Ausblicke, ed. Misch, I., Kürten: Stockhausen, 169–83.Google Scholar
Straus, J. N. (1999a), ‘The Myth of Serial “Tyranny” in the 1950s and 1960s’, The Musical Quarterly, 83:3, 301–43.Google Scholar
Straus, J. N. (1999b), ‘Stravinsky’s “Construction of Twelve Verticals”: An Aspect of Harmony in the Serial Music’, Music Theory Spectrum, 21:1, 4373.Google Scholar
Straus, J. N. (2000), ‘A Response to Anne C. Shreffler’, The Musical Quarterly, 84:1, 40.Google Scholar
Straus, J. N. (2001), Stravinsky’s Late Music, Cambridge: Cambridge University Press.Google Scholar
Straus, J. N. (2003), ‘Stravinsky the Serialist’, in Cross, J. (ed.), The Cambridge Companion to Stravinsky, Cambridge: Cambridge University Press, 149–75.Google Scholar
Straus, J. N. (2008), ‘A Revisionist History of Twelve-Tone Serialism in American Music’, Journal of the Society for American Music, 2:3, 355–95.Google Scholar
Straus, J. N. (2009), Twelve-Tone Music in America, Cambridge: Cambridge University Press.Google Scholar
Stravinsky, I. (1982), Themes and Conclusions, Berkeley: University of California Press.Google Scholar
Stravinsky, I. and Craft, R. (1959), Conversations with Igor Stravinsky, London: Faber & Faber.Google Scholar
Stravinsky, V., and Craft, R. (1978), Stravinsky in Pictures and Documents, New York: Simon and Schuster.Google Scholar
Sung, Y.-j. (2008), ‘The Innovation Rooted in the Tradition’, Guamdu Music Journal, 8, 124.Google Scholar
Sviridov, G. (1971), Al’bom P’es dlia detei, played and introduced by Dmitrii Blagoi, Melodiya LP SM 02435–02436.Google Scholar
Syroyid, B. S. (2020), ‘Analysis of Silences in Music: Theoretical Perspectives, Analytical Examples from Twentieth-Century Music, and In-Depth Case Study of Webern’s Op. 27/iii’, PhD dissertation, University of Leuven.Google Scholar
Szilagyi, A. (2016), ‘The Development of the Romanian Music Avant-Garde in the Communist Era’, Bulletin of the Transilvania University of Brasov, 9:2, 297316.Google Scholar
Takenaka, T. (2016), ‘The Myth of “Familiar Germany”’, in Cho, J. M., Roberts, L. M., and Spang, C. W. (eds.), Transnational Encounters between Germany and Japan, New York: Palgrave Macmillan, 1934.Google Scholar
Tarakanov, M. (1966a), ‘Novye obrazy, novye sredstva: 1’, Sovetskaia muzyka, no. 1, 916.Google Scholar
Tarakanov, M. (1966b), ‘Novye obrazy, novye sredstva: 2’, Sovetskaia muzyka, no. 1, 512.Google Scholar
Tarakanov, M. (1968), ‘Novaia zhizn’ staroi formy’, Sovetskaia muzyka, no. 6, 5462.Google Scholar
Taruskin, R. (2005a), The Oxford History of Western Music: IV – Music in the Early Twentieth Century, Oxford: Oxford University Press.Google Scholar
Taruskin, R. (2005b), The Oxford History of Western Music: V – Music in the Late Twentieth Century, Oxford: Oxford University Press.Google Scholar
Taruskin, R. (2009), ‘Back to Whom? Neoclassicism as Ideology’, in The Danger of Music and Other Anti-Utopian Essays, Berkeley: University of California Press, 382405.Google Scholar
Tazelaar, K. (2013), On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965, Rotterdam: V2_.Google Scholar
Thomson, A. (2014), ‘Mélisande’s Sickroom and Baudelaire’s Angels: Secret Programmes in Berg’s Violin Concert’, The Musical Times, 155:1927, 5569.Google Scholar
Thomson, V. (2002), Virgil Thomson: A Reader: Selected Writings, 1924–1984, ed. Kostelanetz, R., New York: Routledge.Google Scholar
Thoresby, C. (1956), ‘Stravinsky in Venice’, New York Times, 15 September 1956.Google Scholar
Tissier, B. (2012), ‘Mutations esthétiques, mais continuité technique dans l’oeuvre de Pierre Boulez’, PhD dissertation, Université de Montréal and Université de Paris-Sorbonne.Google Scholar
Tompkins, D. G. (2013), Composing the Party Line: Music and Politics in Early Cold War Poland and East Germany, West Lafayette: Purdue University Press.Google Scholar
Toop, R. (1974), ‘Messiaen/Goeyvaerts, Fano/Boulez’, Perspectives of New Music, 13, 141–69.Google Scholar
Toop, R. (1981), ‘Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952–1967’, Interface, 10, 149–97.Google Scholar
Toop, R. (1985), Karlheinz Stockhausen: Music and Machines, 1954–1970 (programme book, BBC Stockhausen Festival, Barbican, London, 8–16 January 1985), London: BBC.Google Scholar
Toop, R. (1991), ‘Last Sketches of Eternity: The First Versions of Stockhausen’s Klavierstück VI’, Musicolgoy Australia, 14, 224.Google Scholar
Toop, R. (2004), ‘Expanding Horizons: The International Avant-Garde’, in Cook, N. and Pople, A. (eds.), The Cambridge History of Twentieth-Century Music, Cambridge: Cambridge University Press, 453–77.Google Scholar
Tsenova, V. (2000), Chislovye tainy muzyki Sofii Gubaidulinoi, Moscow: MGK im. Chaikovskogo. [In German as Zenowa, V. (2001), Zahlenmystik in der Musik von Sofia Gubaidulina, Berlin: Kuhn.]Google Scholar
Tsenova, V. and Kholopov, Y. (1993), Edison Denisov, Moscow: Kompozitor.Google Scholar
Ulrich, T. (2006), Neue Musik aus religiösem Geist: Theologisches Denken im Werk von Karlheinz Stockhausen und John Cage, Saarbrücken: Pfau.Google Scholar
Ungeheuer, E. (1992), Wie die elektronische Musik “erfunden” wurde … Quellenstudie zu Werner Meyer-Epplers Entwurf zwischen 1949 und 1953, Mainz: Schott.Google Scholar
Ungeheuer, E. (1994), ‘From the Elements to the Continuum: Timbre Composition in Early Electronic Music’, Contemporary Music Review, 10:2, 2534.Google Scholar
Ungeheuer, E. (1997), ‘Die Geburt der Idee aus dem Geist der Technik? Anmerkungen zum Klangkontinuum in der elektronischen Musik’, Musiktheorie, 12:1, 2736.Google Scholar
United States Information Service concert series [Concert programme] (1948), 18 and 25 April, McGill University, Marvin Duchow Music Library, Schloss Collection S4.1/F47 SC301 [8].Google Scholar
Varga, B. A. (1976), Lutosławski Profile, London: J. & W. Chester/Wilhelm Hansen.Google Scholar
Vlad, R. (1959), ‘Igor Stravinsky’s Threni’, Melos: Zeitschrift für Neue Musik, 26:2, 36–9.Google Scholar
Vlad, R. (1978), Stravinsky, trans. F. and A. Fuller, London: Oxford University Press.Google Scholar
Vlasova, E. (2014), ‘Iz istorii sovetskoi muzyki: “Dodekafonnyi” plenum SSK SSSR 1966 goda’, Nauchnyi vestnik Moskovskoi konservatorii, 2, 107–21.Google Scholar
Wade, B. (2014), Composing Japanese Musical Modernity, Chicago: University of Chicago Press.Google Scholar
Walsh, S. (1988), The Music of Stravinsky, London: Routledge.Google Scholar
Walton, C. (2014), Lies and Epiphanies: Composers and their Inspiration from Wagner to Berg, Rochester: University of Rochester Press.Google Scholar
Wang, Z. (1991), Twelve-Tone Serialism, Beijing: Ren min yin yie chu ban she.Google Scholar
Wason, R. W. (1987), ‘Webern’s “Variations for Piano”, Op. 27: Musical Structure and the Performance Score’, Intégral, 1, 57103.Google Scholar
Weber, M. (1995), Wissenschaft als Beruf, Stuttgart: Reclam.Google Scholar
Webern, A. (1945/6), ‘Aus unveröffentlichten Briefen’, Der Turm 1, 12, 390.Google Scholar
Webern, A. (1959), ‘From the Correspondence’, Die Reihe, 2, 1315.Google Scholar
Webern, A. (1963), The Path to the New Music, ed. Reich, Willi, Bryn Mawr: Theodore Presser.Google Scholar
Wehagen, W. (1956), ‘Vor-Ort neuer Musik: Darmstadt hat Schule gemacht’, Das blaue Blatt, 1 September.Google Scholar
Weidinger, A. (1996), Kokoschka and Alma Mahler, Munich: Prestel.Google Scholar
Welsch, W. (1997), ‘Aesthetics Beyond Aesthetics’, in Honkanen, M. (ed.), Proceedings of the XIIIth International Congress of Aesthetics, Helsinki: University of Helsinki, iii, 1837.Google Scholar
Wennerstrom, M. H. (1967), ‘Parametric Analysis of Contemporary Musical Form’, PhD dissertation, Indiana University.Google Scholar
Westergaard, P. (1971), ‘Conversation with Walter Piston’, in Boretz, B. and Cone, E. T. (eds.), Perspectives on American Composers, New York: WW Norton, 156–70.Google Scholar
Whittall, A. (1987), ‘Webern and Multiple Meaning’, Music Analysis, 6:3, 333–53.Google Scholar
Whittall, A. (2007), ‘Messiaen and Twentieth-Century Music’, in Sholl, R. (ed.), Messiaen Studies, Cambridge: Cambridge University Press, 232–53.Google Scholar
Whittall, A. (2008), The Cambridge Introduction to Serialism, Cambridge: Cambridge University Press.Google Scholar
Whittall, A. (2016), ‘Metaphysical Materials: Schoenberg in Our Time’, Music Analysis, 35:3, 383406.Google Scholar
Whittall, A. (2019), ‘Motives for Music: London, May 2018’, Tempo, 287, 617.Google Scholar
Williams, S. (2015), ‘Technical Influence and Physical Constraint in the Realization of Gesang der Jünglinge’, Paper presented at Tracking the Creative Process in Music, IRCAM, 9 October. http://medias.ircam.fr/xe7eafe. Accessed 18 July 2020.Google Scholar
Williams, S. (2016), ‘Interpretation and Performance Practice in Realizing Stockhausen’s Studie II’, Journal of the Royal Musical Association, 141:2, 445–81.Google Scholar
Wilson, C. (2004), ‘György Ligeti and the Rhetoric of Autonomy’, Twentieth-Century Music, 1:1, 528.Google Scholar
Wlodarski, A. L. (2019), George Rochberg, American Composer: Personal Trauma and Artistic Creativity, Rochester: University of Rochester Press.Google Scholar
Wörner, F. (2003), ‘ … was die Methode der ›12-Ton-Komposition‹ alles zeitigt … ’: Anton Weberns Aneignung der Zwölftontechnik 1924–1935, Bern: Peter Lang.Google Scholar
Wu, X. (2010), ‘A Study on Serial Writing Skill in the 1990s Chinese Music’, MA thesis, Shanghai Conservatory of Music.Google Scholar
Xenakis, I. (1955), ‘La crise de la musique sérielle’, Gravesaner Blätter, 1, 24.Google Scholar
Xenakis, I. (1956), ‘Wahrscheinlichkeitstheorie und Musik’, Gravesaner Blätter, 6, 2834.Google Scholar
Xenakis, I. (1965), ‘La voie de la recherche et de la question’, Preuves, 177, 3336.Google Scholar
Yang, C.-C. (2019), ‘Synchronizing Twentieth-Century Music: A Transnational Reflection’, in Janz, T. and Yang, C. (eds.), Decentering Musical Modernity: Perspectives on East Asian and European Music History, Bielefeld: transcript, 247–78.Google Scholar
Yates, A. G. (2021), ‘Ann Southam’s Solo Piano Music: A Performance Guide’, DMA monograph, University of Western Ontario.Google Scholar
Zagorski, M. (2005), ‘“Nach dem Weltuntergang”: Adorno’s Engagement with Postwar Music’, Journal of Musicology, 22:4, 680701.Google Scholar
Zagorski, M. (2009), ‘Material and History in the Aesthetics of “Serielle Musik”’, Journal of the Royal Musical Association, 134:2, 271317.Google Scholar
Zagorski, M. (2018), ‘Listening for Stockhausen’, Hudební věda, 55:2, 193201.Google Scholar
Zenck, M. (2016), Pierre Boulez: die Partitur der Geste und das Theater der Avantgarde, Paderborn: Wilhelm Fink.Google Scholar
Zhang, W. (2017), ‘Sinicization of Serialism: The Development of Twelve-Tone Technique and Theory (1980–1990)’, Music Research, 7, 2358.Google Scholar
Zhao, X. (1990), The Taiji Composition System, Guangdong: Guangdongsheng Xinhua shudian.Google Scholar
Zhao, Z. (2019), ‘Survey of Seventy Years’ Publications in Music Theory in New China’, Journal of Yunnan Arts Academy, 3, 1831.Google Scholar
Zheng, Y. (1990), ‘Letter from China: The Use of Twelve-Tone Technique in Chinese Musical Composition’, The Musical Quarterly, 74:3, 473–88.Google Scholar
Zheng, Y. (2007), Fundamentals of Serial Music Composition, Shanghai: Shanghai Music Publishing House.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • References
  • Edited by Martin Iddon, University of Leeds
  • Book: The Cambridge Companion to Serialism
  • Online publication: 07 March 2023
  • Chapter DOI: https://doi.org/10.1017/9781108592116.022
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • References
  • Edited by Martin Iddon, University of Leeds
  • Book: The Cambridge Companion to Serialism
  • Online publication: 07 March 2023
  • Chapter DOI: https://doi.org/10.1017/9781108592116.022
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • References
  • Edited by Martin Iddon, University of Leeds
  • Book: The Cambridge Companion to Serialism
  • Online publication: 07 March 2023
  • Chapter DOI: https://doi.org/10.1017/9781108592116.022
Available formats
×