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Morton Feldman is widely regarded as one of America's greatest composers. His music is famously idiosyncratic, but, in many cases, the way he presented it is also unusual because, in the 1950s and 1960s, he often composed in non-standard musical notations, including a groundbreaking variety on graph paper that facilitated deliberately imprecise specifications of pitch and, at times, other musical parameters. Feldman used this notation, intermittently, over seventeen years, producing numerous graph works that invite analysis as an evolving series. Taking this approach, David Cline marshals a wide range of source materials - many previously unpublished - in clarifying the ideology, organisation and generative history of these graphs and their formative role in the chronicle of post-war music. This assists in pinpointing connections with Feldman's compositions in other formats, works by other composers, notably John Cage, and contemporary currents in painting. Performance practice is examined through analysis of Feldman's non-notated preferences and David Tudor's celebrated interpretations.Read more
- Shines light on Feldman's ideology and compositional techniques, reproducing previously unpublished items
- Examines the influence of contemporary currents in painting upon Feldman, focusing on the work of Jackson Pollock and Robert Rauschenberg
- Offers an extended case study in musical indeterminacy, including an in-depth study of David Tudor's performances
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- Date Published: August 2016
- format: Adobe eBook Reader
- isbn: 9781316566572
- contains: 15 b/w illus. 14 tables 100 music examples
- availability: This ISBN is for an eBook version which is distributed on our behalf by a third party.
Table of Contents
1. Early graphs, 1950–3
2. Later graphs, 1958–67
6. Compositional methods I
7. Compositional methods II
8. Non-notated preferences
9. Tudor's performances
10. Connections with works in other notations
11. Moving on
Appendix 1. Two unpublished graphs
Appendix 2. Other perspectives on compositional methods.
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