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John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world. This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.
Inhaltsverzeichnis
Intro1 Introduction, Benjamin Boretz; Chapter 1 Repetition, John Rahn; Chapter 2 Differences, John Rahn; Chapter 3 Centers; dissenters (music, religion, and politics), John Rahn; Chapter 4 Aspects of musical explanation, John Rahn; Chapter 5 Notes on methodology in music theory, John Rahn; Chapter 6 New research paradigms, John Rahn; Chapter 7 D-light reflecting: the nature of comparison, John Rahn; Chapter 8 Logic, set theory, music theory, John Rahn; Chapter 9 How do you du (by milton babbitt)?, John Rahn; Chapter 10 What is valuable in art, and can music still achieve it?, John Rahn; Chapter 11 Music as anti-theater, Benjamin Boretz;
Über den Autor / die Autorin
John Rahn is professor of music composition and theory and associate director of the school of music at the University of Washington in Seattle, Washington. BenjaminBoretz is a composer and an influential music the
Zusammenfassung
John Rahn's prolific activities as a composer-theorist-teacher, inventor of computer sound-synthesis software, editor of Perspectives of New Music during the 1980s and 90s, and author of an exemplary text on atonal theory are conspicuously in the foreground of the academic music-intellectual world. This collection of essays charts Rahn's progression from the construal of music's data structures to the articulation of its experiential structures, leading to the question of its moral infrastructures and its value systems of the internal and external worlds. This book shows Rahn's remarkable intellectual evolution, culminating in the recognition that the pressure bearing on discourse can only be contained by thought formulated in the non-referential language of the arts themselves. Also includes 18 musical examples.
