Re: Serialism Resouces
- From: Afoklala <afoklala@xxxxxxxxx>
- Date: Fri, 27 Jan 2006 08:36:01 +0100
Op Thu, 26 Jan 2006 10:04:54 -0500 schreef Tom K.:
> "Afoklala" <afoklala@xxxxxxxxx> wrote in message
> news:2ounvjcxr26z.o6h2ieh7e682$.dlg@xxxxxxxxxxxxx
>> Op Wed, 25 Jan 2006 14:22:47 -0500 schreef Tom K.:
>>
>>> <aine_canby@xxxxxxxxx> wrote in message
>>> news:1138215429.985815.56960@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
>>>> Hi,
>>>>
>>>> I'm a young composer and most of my work so far has been with regard to
>>>> Musique Concrete using Logic Pro, C-sound and C++. I'm interested at
>>>> the moment in investigating serialism, with particular attention paid
>>>> to the works of Webern and Stockhausen (Studie 1 and Kontakte). Could
>>>> anyone recommend me some books which might further help me in my
>>>> studies.
>>>>
>>>> Regards,
>>>>
>>>> Aine.
>>>>
>>> Nowhere near comprehensive, but a decent start:
>>>
>>> "Serial Composition and Atonality" by George Perle.
>>> "The Path to the New Music" by Anton Webern (collection of lectures
>>> published by Presser)
>>> "Die Riehe" (periodical)
>>>
>> You mean "Die Reihe" (the row, the series), a German periodical that
>> published a lot of theoretical texts by serial composers (notably
>> Stockhausen and Boulez) explaining their work and their strivings.
>> --
>> Jan Willem from Odijk, Netherlands
>>
>
> Let's see..."I before E, except after whatever...."
>
> Thanks for the correction.
>
At first, I hesitated to post this, I thought you might think me pedantic.
But I thought, suppose the OP was going to look for this publication, then
this typo would have presented him with some real problems...
I'm glad you took it in the spirit in which it was intended.
--
Jan Willem from Odijk, Netherlands
Listen to my music on
http://home.hccnet.nl/jw.van.dormolen/gbcomponist.html
e-mail in From-field is wrong, real e-mail is:
jw point van point dormolen on hccnet point nl
(change point into dot, on into at)
And then there's this:
If all the world is a stage, where is the audience sitting?
.
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