ex tempore

ARCHIVES

Co-Editors:
George Arasimowicz, State University of California at Dominguez Hills
John MacKay, West Springfield MA

Past Issues:

Vol. I/1: January 1981, Vol. I/2: October 1981, Vol. II\1: January 1982 (in one volume)

Deborah O'Grady	Toru Takemitsu's *Valeria*
John Felder	The Structural Function of Wind Role Transformations in *Equivalences* by J.C. Eloy
Scott Makeig	Means, Meaning and Music: Pythagoras, Archytas and Plato
Jeri Kotani	Comprehensibility and Function in Webern's *Six Pieces for Orchestra* Op. 6
Thomas Amos	Isometrics and the Origin of Modal Systems: A Brief Experimental Inquiry
John MacKay	Some Comments on the Visual/Spatial Analogy in Studies of the Perception of Musical Texture
Jan Jarvlepp	Pitch and Texture Analysis of Ligeti's *Lux* *Aeterna*
George Arasimowicz	Luigi Dallapiccola's *Canti* *di Prigonia*
Robert Strizich	Notation in Elliot Carter's *Double Concerto*

Vol. III/1: April 1985

David Evan Jones	Concerning Orchestration in Webern's *Concerto* Op.24
Deborah Kavash	An Introduction to Extended Vocal Techniques: Some Compositional Aspects and Performance Problems
Larry Polansky	History and the Word: Form and Tonality in Schoenberg's *Phantasy* *for Violin and Piano Accompaniment*
Gerald Gabel	Compositional Uses of the Crossing Phenomenon in Recent Music

Vol. III/2: Fall-Winter 1985-1986

Brad Dow	On Improvisation KIVA
John Cage	Song for C.W.
Christian Wolff	Play
Christian Wolff	Fragments to Make Up An Interview
Gerald Gabel	An Interview with Christian Wolff
Margo MacKay-Simmons	Aspects of Orchestration in Bengt Hambraeus' *Transfiguration for Orchestra:* Composed Resonance as a Generator of Musical Texture
John MacKay	An Interview with Rudolf Komorous

Vol. IV/1: Spring/Summer 1986

Nicola Bernardini	Sound Reproduction, Semiotics and Computer Music Composition
Richard Boulanger	Two New Digital Techniques for the Transfiguration of Speech into Musical Sound
Durand Begault	Spatial Manipulation and Computers: A Tutorial for Composers
Robert Boury and Michel Klein	"Composing is Composing": Interdisciplinary Heuristics for Composition Teachers and Researchers

Vol. IV/2: Spring/Summer 1987-1988

David Keane	Architecture and Aesthetics: The Construction and the Objectives of *Electronikus* *Mosaik*
Jarrad Powell	Theory\Theory
E. Michael Harrington	Density in a Musical Context
Dwight Winenger	The Nature of Change and Schoenbergian Harmony
William S. Cratty	The Role of Vagrant Harmonies in Selected Lieder of Wolf, Strauss and Schoenberg
John Welsh	John Cages TRIO from *Amores* (1943): A Study of Rhythmic Structure and Density
Wendy Salkind	Language and Percussion: An Actor's Perspective
David Evan Jones	Text and Music in Luciano Berio's Circles
Marylin Ziffrin	Carl Ruggles and the University of Miami

Vol. V/1: Spring/Summer 1989

Barney Childs	Aporia as Parataxis or "I had one of them once, but the wheels came off."
Paul Paccione	Time-Space Synthesis: The Relationship of the Grid to Twentieth-Century Music
Will Ogdon	How Tonality Functions in Webern's Opus 9, nr. 1 and 4.
Timothy J. Buell	The Harmonic Language of Stravinsky' Abraham and Isaac
Cynthia Folio	Unity and Pluralism in Selected Works of Joseph Schwantner
Igor Korneitchouk	New Applications for Loudspeakers in an Acoustical Space: A Composer's Perspective on Alternative Loudspeaker Placement

Vol. V/2: Fall 1991

Robert Strizich	Texture in Post-World War II Music
Brent Heisinger	Compositional Devices in Steve Reich's *Octet*
David Loucky	Contemporary Notation and Limited Indeterminacy: Roger Reynolds' *"... From Behind the Unreasoning Mask"*
Marc Beaulieu	Cyclical Structures and Linear Voice-Leading in the Music of Ivan Wyschnegradsky
Ezra Simms	Harmonic Ordering in Quintet
Tom North	A Technical Explanation of Theme and Variations: A Computer Music Work Utilizing the Network Compositional Algorithm

Vol. VI/1: Fall 1992

Roger Savage	The Legacy of the Avant Garde
Molly and Paul Paccione	Did Modernism Fail Morton Feldman?
Tamas Ungvary and Simon Waters	The Sonogram: A Tool for the Documentation of Musical Structure
David Little	Composing with Chaos: Applications of a New Science to Music
Rick Bidlack	Music From Chaos: Nonlinear Systems as Generators of Musical Materials

Vol. VI/2: Summer 1993

Robert Rollin	On Words, Music and Voices
Michael Friedmann	Motive, Meter and Row: Conflicting Imperatives to the Performer in Schoenberg's **Klavierstück, op.33b**
Robert Maggio	A Source of Richness in the Main Themes of Samuel Barber's *Violin Concerto* *and Piano Concerto: Hierarchical Conflict and the Implication Realization Model*
Robert Erickson	The Musical System of Archytas
Robert Erickson	LOOPS: An Informal Timbral Experiment
John MacKay	On the Recent Music of Robert Erickson

Vol. VII/1: Summer 1994

Gary Washington	The Myth of Postmodernism
William Pastille	Music Theory and the Spirit of Science: Perspectives from the Vantage of the New Physics
James Caldwell	Meter and Perspective
Leslie Kearney	Time and Truth
Craig Cummings	The Musical "Culture of Time and Space"
Erhard Karkoschka trans. Yehuda Yannay	Musical Time: Some Aspects and Possibilities
Chris Meister	Convergence as a Mode of Composing Musical Organization: Comparing Varèse's *Hyperprism* with Penderečki’s Polymorphia
Rosemary Mountain	Time and Texture: Lutoslawski's *Concerto for Orchestra* and Ligeti's Chamber Concerto

Vol. VII/2: Summer 1995

Eric Richards	Observation and Obsession: An American Way of Art
Roger Savage	Chance as Poeticizing Strategy
Eugene Montague	The Limits of Logic: Structure and Aesthetics in Xenakis’ *Herma*
Thomas Putsché	Equivalent Union and Subsets as Progression: "Theme Song and Variations for Six Saxophones" an Example
Timothy J. Bowlby	"In Memoriam Alban Berg?": An Analysis of René Leibowitz's **Five Pieces for Clarinet and Piano, op. 29**
Meijane Quong	On the Recent Music of Claudio Ambrosini
Stewart Smith / Christine Humphries	Thoughts of Stuart Saunders Smith on Quakerism, Trans-media and Democracy

Vol. VIII/1: Summer 1996

John Cage / Maureen Mary	Letters: the brief love of John Cage for Pauline Schindler, 1934-35
Robert Rollin	A Conversation with Karel Husa in Honor of his 75th Birthday
Nancy Lee Harper	Rodolfo Halffter and the *Superposiciones* of Manuel de Falla
John MacKay	Series, Form and Function: Aspects of Tonal Form in the Twelve-Tone Music of Schoenberg and Webern
Murray Dineen	Schoenberg's *Vergangenes* op. 16 no. 2,: Social Critique and Analysis

Vol. VIII/2: Spring/Summer 1997

Jorge Peixinho	**Canto de Amore e de Morte: Introduction and Essay in Morphological Interpretation**
John MacKay	*The Concerto for Harp and Instrumental Ensemble* of Jorge Peixinho
Gil Miranda	*Libera* Me by Constança Capedeville
Joao Rafael	The Fertile Development: An Analysis of *Wandlungen* of Emmanuel Nunes
Chris Howard	Completing the Circle: Bengt Hambræus's *Concerto for Piano and Orchestra*
Laraine Olson Waters	Bengt Hamræus's *Livre* **d'Orgue: An Exploration of the French Classic Tradition and Beyond**
Anton Rovner	An Interview with Daniel Goode

Vol. IX/1: Spring/Summer 1998

Anton Machleder	Serialism and Poetry in Reginald Smith Brindle’s *El Polifemo de Oro*
Helena Santana	**Terretêktorh: Space and Timbre, Timbre and Space**
Rosário Santana	Musical Discourse and Rhythm in Elliott Carter
Brenda Ravenscroft	The Anatomy of a Song: Text and Texture in Elliott Carter's "O Breath"
Marina Lupishko	A Pupil of Webern in the USSR: The Writings of Philip Herschkowitz (1906-1989)

Vol. IX/2: Spring/Summer 1999

Erick Parris	An Analysis of **Piece for Solo Cello: A Semiotic Approach**
David Pope	Diverse Compositional Techniques in Yusef Lateef's *African American Epic Suite* "First Movement - The African as Non-American"
Christien Ledroit	Sergio Barrosso's **Íreme: An Examination of the Music, the Ceremony and Its Representation**
Christien Ledroit	trilogy by alcides lanza
alcides lanza	Varèse: looking for the new....
Eleanor F. Trawick	Order, Progression, and Time in the Music of Messiaen
Ross Feller	Slippage and Strata in Brian Ferneyhough's *Terrain*

Vol. X/1: Summer 2000

Patrick Cardy, Per Broman, Angelo Emmanouelides, Hope Lee	Bengt Hambraeus 1928 - 2000 Laus Deo!: Some Reminiscences
Bengt Hambraeus	Between Ivory Tower and Shopping Mall
Per Broman	Bengt Hambraeus and the Canadian Dream
John MacKay	"Les Jeux Sont Faits!" : Ensemble Strategies and Historical "Borrowing" in the Music of Bengt Hambraeus
Olga Malyshko	The Evolution of the 6/3 and its Relationship to Other Dissonance Formations in the English Conductus
Kevin Holm-Hudson	Just Intonation and Indian Aesthetic in Terry Riley's *The Harp of New Albion*
Timothy J. Bowlby	The Influence of Bach's *Well-Tempered Clavier* on the Opp.34 and 87 Piano Pieces of Dmitry Shostakovich

Vol. X/2: Spring/Summer 2001

Alain J.-J. Cohen	János Négyesy: Ut Pictura Musica
F. Richard Moore	Musical Magic
David Lidov	Resisting Representation
Helena Santana	The "Itinerant Sonorities" of *Pirâmides* *de Cristal* by João Pedro Oliveira
André Villeneuve	*Souffles* *(Champs II),* the Mobile, and the Musical Language of Gilles Tremblay

Vol. XI/1: Spring/Summer 2002

John MacKay	An Overview of Karel Janeček's *Foundations of Modern Harmony*
Bruce Mather	*Three* *Études* *for Two Pianos* (1974) by John Hawkins and *String Quartet* (1994) by John Burke
Margaret Thomas	The "departing landscape": Temporal and Timbral Elasticity in Morton Feldman's i met heine on the rue fürstenberg
Yuri Kholopov	Signs from Above
Roman Yakub	An Interview with Edisson Denisov
Rebecca Jemian and Anne Marie de Zeeuw	Simon Bainbridge, On Composing *Ad Ora Incerta*

Vol. XI/2: Spring/Summer 2003

David Walters	Boulez and the Concept of Chance
Roger W.H. Savage	*Le marteau sans maître* and the Logic of Late Capitalism**
Bruce Mather	*Offrande* *III* by Serge Garant, *De subitement lointain* by François Morel and *Quatuor* *à Cordes No. 2 "Ad Pacem"* by André Prévost
Johanna Devaney	Some Elements of Structure in Elliott Carter's "Insomnia" from *A Mirror on Which to Dwell*
Matthew Albert Gould	Toward the "SEA" of Toru Takemitsu
Matthew Greenbaum	Debussy, Wolpe and Dialectical Form
Roxane Prevost	Conversations With Ursula Mamlok

Vol. XII/1: Spring/Summer 2004

Paul Paccione	The Ecology of Listening: How We Experience Sound
John W. White	Analyzing Free Improvisation: Orgeon’s “Taos” and the Negotiation of Metric Coherence
Robert Rollin	Viktor Ullmann’s *The Emperor of Atlantis* (1943): An Opera Composed in Terezin Concentration Camp
Eva Mantzourani	Tonal Influences and the Reinterpretation of Classical Forms in the Twelve-Note Works of Nikos Skalkottas
William Pfaff	*When Lilacs Last in the Dooryard Bloom’d*
Martin Kutnowski	Dementia and Voice Leading in “The Sentry” from Peter Maxwell Davies’s *Eight Songs for Mad King* *Songs for Mad King*
Robert Rollin	A Conversation with Multifaceted Film Composer Johnterryl Plumeri

Vol. XII/2: Spring/Summer 2005

Marina Lupishko	Stravinsky and Russian Poetic Folklore
Edward D. Latham	Reuniting the Muses: Cross-Disciplinary Analysis of Debussy’s *Pelléas*** and “L’après midi d’un faune
John MacKay	*The Games of Jeux: On Debussy’s Intrigue of Motive, Proportion and Narrative*
Eduardo Larín	“Waves” in Debussy’s *Jeux*

Vol. XIII/1: Spring/Summer 2006

Friedmann Arthur Sallis	Segmenting the Labyrinth: Sketch Studies and the *Scala* *Enigmatica* *in the Finale of Luigi Nono’s Quando* stanno morendo, Diario Polacco n.2 (1982)**
Angela Ida de Benedictis	*Can Text Itself Become Music?* : On the Text-Music Relationship in Luigi Nono’s Compositions of the Early 1960s
Bruce Mather	*Poème* *du Délire*
John Cole	An Introduction to Jo Kondo’s **Sen no ongaku Music of 1973 to 1980**

Vol. XIII/2: Spring/Summer 2007

Marina Lupishko	The Rejoicing Discovery Revisited: Re-accentuation on Russian Folklore and Stravinsky's Music
Jeffrey Brukman	Kárpáti's "Mistuning Theory Reconsidered in the Context of Bártok's "Supradiatonicism" and Friedrich Hartmann's Fully-Chromaticized Scales
Craig Cummings	Compositional Techniques in Karel Husa's Early Serial Works Poème and Mosaïques
John MacKay	Form and Moment: Will Ogdon's String Quartet #3
Alfred Fisher	God's, Girls and Depravity: Some Reflections on Lawrence Kramer's Opera and Modern Culture
Sylvia Smith	Family Portraits: "Delbert (great-grandfather)" and Self Interview on the Thirtieth year of Smith Publications and Sonic Art Editions

Vol. XIV/1: Spring/Summer 2008

Claudia Vincis and Paolo Dal Molin	Stravinsky and Gesualdo’s Mo(nu)mento
Polina Samotina and Oksana Verba	J. S. Bach’s Well-Tempered Clavier as a Semantic Whole: Peculiarities of Dramaturgic Structure
Ludmila Yurina	Modern Ukrainian Music: 1980 - 2000
Gerald Gabel	Fourteen Composers in Today’s Ukraine
Stuart Saunders Smith	A Composer’s Mosaic: Selected Entries from the Composing Journals of Stuart Saunders Smith (1985-1986)
Jude Traxler	Interview with Stuart Saunders Smith

Vol. XIV/2: Spring/Summer 2009

Thomas D. Svatos	*A Clash over Julietta: the Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture*
Matthew Greenbaum	Dialectic in Miniature: Arnold Schoenberg’s Sechs Kleine Klavierstücke Opus 19
Marina Lupishko	*Stravinsky's Bayka* (1915-16): Prose or Poetry?**
Sundar Subramanian	Pitch Structures in Reginald Smith Brindle’s El Polifemo de Oro
Jean-Louis Leleu	Rhythmic Cells and Organic Development: The Function of Harmonic *Fields in Movement IIIb of Livre* pour quatuor by Pierre Boulez**
John MacKay	*Analytical Diptych: Boulez Anthèmes* / Berio Sequenza XI**