337:
afraid to use silence as a key part of their compositions. Upon further examination, however, one finds that the function of silence in music varies significantly among the three composers. Feldman, for example used silence to separate sounds and give them space to fade into silence. DeLio notes, "Feldman once said that one of the most beautiful things a sound does is decay. He could have added that in order for this decay to be felt, it must be attached to silence." Cage, on the other hand, used silence as a compositional tool for incorporating unintentional, atmospheric sounds into the context of a musical composition. DeLio explains, "Cage, of course, is the real source of all consideration of silence in music. But even his approach to silence is not like mine – though I deeply admire his work. For Cage silence is the space in which all unintended sounds come into play." DeLio's use of silence is different in that it is used to isolate sounds and events. He explains:
333:. Over the course of the past hundred years, this restriction has virtually disappeared." Elsewhere, DeLio describes his attraction to percussion instruments, explaining, "Percussion allows a composer to deal with sounds drawn from the entire pitch/noise continuum. Thus, pitch is one manifestation of all sound ranging from pure tones to noise bands." Cage was a pioneer in this area, writing for a wide variety of percussion instruments, electronic devices, and even household objects to produce new sounds. Composers like DeLio are heavily indebted to his work.
25:
417:, 2008) contains papers by leading composers and scholars from Europe and the United States including Herman Sabbe (Professor, Ghent State University, Belgium), Robert Morris (Professor, Eastman School of Music), Agostino di Scipio (Professor, University of Bari, Italy); Christopher Shultis (Regents Professor, University of New Mexico), Wesley Fuller (Professor Emeritus, Clark University), Morris Palter (Professor, University of Alaska), Linda Dusman (Professor, University of Maryland Baltimore County).
2873:
362:
DeLio attempts to draw the listener into more intently listening to the brief sonic events. "I argue for wiping the slate clean", DeLio explains, "Rediscovering sound beneath all of the rhetoric and dated mannerisms which have accumulated over so many years and, in the process, really coming to grips with the nature of our own experience."
2861:
351:
I always try to avoid constructing transitions linking individual events. I avoid anything which might convey a sense of continuity and connection. I desire everything to be segmented, halted, separated. I have no interest in memory, which seems to me an illusion. Only direct perception of the moment
336:
Another area where the influences of Cage and
Feldman are strongly felt is in DeLio's extensive use of silence as a compositional device. On the surface, in fact, DeLio's music bears a strong resemblance to the music of Cage and Feldman, both of whom made extensive use of sparse textures and were not
317:
Xenakis and
Feldman are influences in the general sense that they each tap into very personal and unique sensibilities; in this sense they should be role models for all composers. Also, for these composers, sound is the source of the compositional process. Sound, in all its richness and complexity,
2525:
Selected
Compositions of Thomas DeLio, a CD accompanying the book Essays on the Music and Theoretical Writings of Thomas DeLio, Contemporary American Composer, The Edwin Mellen Press (2008): ce, lf, computer music; between, flute and percussion ensemble; Pine, Bamboo, Plum, computer music; Though,
361:
The most striking aspect of DeLio's music is his use of silence. His pieces include large sections of silence, sometimes a full minute. In fact, in many of his compositions the time devoted to silence is greater than the time devoted to sonic events. By isolating events and frustrating the memory,
341:
Silence is like a location for the experience of sound. For me it defines a place with respect to sound. My silence frames sound, isolates it, and creates an opportunity to hear sound both as an object – an entity unto itself divorced from its role as a mere unit of linguistic baggage – as well as
2521:
Thomas DeLio: Selected
Compositions 1991–2013, including Belle-Isle I–IV, computer music; transients / images, percussion, piano; ...transients, computer music; Though, piano solo; XXXIII – XXVII, computer music; as though, percussion solo; as though / of, computer music; between, flute, piano, 3
2509:
space / image / word / sound, a DVD of eight of compositions in 5.0 surround sound including Song: Foxrock near Dublin, computer music; et avant / image, flute, percussion ensemble; ...zwischen den Worten, computer music; qu'un espace / sépare, soprano, percussion ensemble; amounts. to., computer
2505:
Thomas DeLio: Selected
Compositions II 1972–2015, including inents (two versions), computer music; anti-paysage, flute, piano, percussion; anti-paysage II, computer music; – en / l'espace de..., soprano and orchestra; x, e, inc, e, m, nce, and n, c, computer music; Text and Serenade, piano solos;
365:
Another important aspect is his sense of time. In a majority of his pieces, he uses the same tempo, 60 beats per minute. Within this tempo, however, he uses a wide variety of subdivisions, including division of the beat into 5 or 7, and the pulse is rarely, if ever, clearly defined. 60 beats per
346:
While this may sound similar to
Feldman's use of silence, DeLio's approach is more radical, using large units of silence to not only isolate the events sonically, but also to isolate them mentally, leaving so much space that the memory will often forget one gesture before the next is presented,
2526:
piano solo; "because the...", computer music; as though, percussion solo; z, rb, computer music; as though, again, chamber ensemble; Zilahn, computer music; think on parch, computer music; Belle-Isle, computer music; ...zwischen den Worten, computer music; XXIII–XXVII (2007), computer music.
2501:
space / image / word / sound II', a DVD of computer music in 5.0 surround sound including five versions of the composition inents, Hörreste (Soundscrapes), In Prag (In Prague), Schaufäden (Sight
Threads), Sichtbar (Visible), Vorflut (Outfall), Weissgrau (Whitegray), and Sakuteiki (Neuma
2522:
percussionists; z, rb, computer music; Center, solo voice; Center / s, computer music; Than, orchestra;, c, el, f, computer music; that light, solo soprano; Song: "aengus", computer music; Zilahn, computer music (Neuma 450–108).
366:
minute is essentially the same as one beat per second, and DeLio thinks of time in his instrumental works as one would in tape composition: All events are measured against a temporal grid of minutes and seconds. DeLio's
318:
is the essence of that process for both – not system of method or gesture, as is the case for so many composers. This is true for me as well. First and foremost I think about sound when I start a piece.
209:). His book "The Amores of John Cage" was published by Pendragon Press (as part of the College Music Society series Sourcebooks in American Music) in 2010. A book about DeLio's work entitled
322:
The primary area where
Xenakis and DeLio differ is in the use of mathematics, which is integral in Xenakis's compositions. DeLio states, "My music is not really mathematical at all!."
2491:
Trois Visage – three compositions for soloist and percussion ensemble; ca. 20' (flute and nine percussionists; violin and six percussionists; soprano and six percussionists).
466:
Analytical
Studies of the Music of Ashley, Cage, Carter, Dallapiccola, Feldman, Lucier, Reich, Satie, Schoenberg, Wolff, and Xenakis, Collected Essays Volume I (1980–2000)
68:
395:
387:
2428:, opera/installation for tape (6 channels), text by P. Inman; plays continuously over several days. Also versions in surround sound and stereo (ca. 31 ½’ each).
140:
DeLio's works are published by
Editore Semar (Europe), Silent Editions (United States) and Sonic Art Editions (United States) and are recorded on such labels as
2933:
2532:"...zwischen den Worten", two songs on texts by Paul Celan (computer music, 5.1 surround sound); released on DVD in 5.1 surround sound (Capstone, CPS-8811).
34:
2535:
Song: Foxrock near Dublin, song on text by P. Inman (computer music, 5.1 surround sound); released on DVD in 5.1 surround sound (Capstone, CPS-8811).
2913:
1383:
286:
278:
372:
is static, merely a reference for the performer. Instead of altering tempo, DeLio uses rhythmic devices to create effect within a constant pulse.
313:. The influence of Xenakis, however, is often more philosophical than musical. Describing the influence of Xenakis and Feldman, DeLio explains:
114:
659:
502:, 1985); contributions – Introduction; "The Dialectics of Structure and Materials: Iannis Xenakis' Nomos Alpha"; "Sound, Gesture and Symbol".
422:
144:, 3D Classics, Neuma, Centaur, Capstone, and Spectrum. He has published over thirty scholarly papers in such journals and periodicals as
258:
2381:
1429:
2928:
2923:
1755:(orchestra: fl., ob., 2 Bâ™ cl., bsn., 2 C tpt., tenor tbn., bass tbn., 4 perc., harp, piano, 4 vln., 4 vla., 4 vcl., 4 cb.; ca. 4'.
476:
137:
in a Special Interdisciplinary Studies program that allowed him to combine advanced studies in music, visual arts, and mathematics.
126:
90:
2908:
2903:
2364:"sam", opera/installation for tape (4 channels) and video (3 screens), text by P. Inman; plays continuously over several days.
1487:
2918:
2822:
2851:
944:
43:
2400:
et avant / image/ l'autre (fl., ob., Bb cl., alto sax., C tpt., tenor tbne., 4 vln., 4 vla., 4 vcl., 9 perc.); ca. 7'.
1018:
975:
915:
884:
850:
810:
792:
735:
527:
499:
439:
1024:"Music Today: Issues of the Avant-Garde in the 70s" (published under the title: "Avant-Garde Issues in '70s Music"),
53:
47:
39:
329:
system. "Prior to the 20th century", DeLio notes, "the sonic materials of Western music were restricted to a set of
2785:
1917:(chamber orchestra: fl., ob., Bâ™ cl., bsn., perc., vln. I (6), vln. II (6), vla. (4), vcl. (4), cb. (2); ca. 5'
963:
858:
759:
703:
632:
146:
72:
2529:"en l'espace de...", soprano and orchestra (ERMMedia, ERM-5999); part of the Masterworks of the New Era series.
2114:(soprano, fl., ob., B♠cl., C tpt., tenor tbn., vln., vcl., piano, 2 perc.), texts – Stéphane Mallarmé; ca. 9'.
266:
262:
242:
222:
1151:
2052:(version I, soprano solo); ca. 8’; (version II, soprano and chamber ensemble), texts: A. R. Ammons; ca. 14'.
901:: Some Observations on the Nature of Open Structures in the Music and Visual Arts of the Twentieth Century",
1550:
1419:
1373:
1006:
270:
152:
347:
essentially forcing the listener to evaluate them as separate, unrelated musical entities. DeLio explains:
2898:
2877:
1048:
411:
Essays on the Music and Theoretical Writings of Thomas DeLio, Contemporary American Composer, Michael Boyd
182:
238:
990:
903:
687:
492:(London: Greenwood Press, 1996); contributions – Introduction; "Last Pieces"; Bibliography; Discography.
230:
158:
2893:
898:
234:
1502:(3 Bâ™ cl., soprano sax., alto sax., tenor sax., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.
1104:
955:
940:
838:
743:
716:
449:
274:
246:
170:
2321:
ylm, n (XX–XXV) (ob., 3 Bb cl./1 doubling bass cl., soprano sax., alto sax., vln., vla.); ca. 3’.
456:
The Amores of John Cage, as part of the College Music Society series Sourcebooks in American Music
282:
2815:
2506:
not, piano, percussion; and, A Draft of Shadows, soprano and percussion ensemble (Neuma 450–116).
2373:
transients / interferences (fl. doubling picc. and bass fl., gtr., vln., perc. 1 player); ca. 5'.
1120:
609:
598:
572:
469:
414:
290:
113:, music theorist and author. He is currently Professor of Music in theory and composition at the
107:
2143:
opera/installation for tape (six tracks), text – P. Inman; plays continuously over several days.
818:
64:
798:"The Shape of Sound: Alvin Lucier's Music for Pure Waves, Bass Drums and Acoustic Pendulums",
472:
418:
2397:
et avant / image / aussi (fl., ob., Bb cl., alto sax., C tpt., tenor tbne., 9 perc.); ca. 7'.
1281:(3 B♠cl., soprano sax., alto sax., tenor sax., 4 vln., 2 vla.); three sets, ca. 3’, per set.
568:"Dis-moi, Daphénéo: Erik Satie's Path to Modernism", (College Music Symposium, vol. 51, 2011)
2865:
1933:
1193:
1102:"Toward a Morphology of Presence: The Sound Installations of Thomas DeLio", Michael Hamman,
530:, 1989); contributions – Introduction; "Sound Installation: The Strathmore Hall Art Center".
330:
250:
226:
214:
134:
2742:, percussion ensemble and four-channel tape, (Mainz: Wergo, WER 2029-2, 1992); part of the
1441:
679:
664:
624:
459:
954:(Catalogue of the Sol LeWitt Collection), John Paoletti, ed., (Middletown, Connecticut:
583:
310:
302:
198:
164:
2887:
1711:
1651:
517:
254:
2043:
326:
218:
130:
2408:...that light... (sop., fl., Bb cl., C tpt., vln., vcl, perc. (1 player).); ca. 6’
325:
The influence of Cage is evident in DeLio's use of sounds outside of the standard
1462:(2 fl., alto fl., 3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.
1253:(ob., Bâ™ cl., alto sax., Bâ™ tpt., 2 Bass cl., 2 bsn.); two sets; ca. 3' per set.
1183:
685:"Language and Form in an Early Atonal Composition: Schoenberg's Op. 19, No. 2",
1035:, edited by Gregory Battcock, (New York: E. P. Dutton, 1981), pp. 254–271.
2385:
2263:(fl., ob., B♠cl. doubling bass cl., vln., vla., cello, piano, perc.); ca. 2’.
1681:
561:"The Marvelous Illusion: Morton Feldman's The Viola in My Life (1)", (London:
59:
Contentious material about living persons that is unsourced or poorly sourced
1415:(2 fl., alto fl., 3 Bâ™ cl, 4 vln., 4 vla., 4 vcl.); six sets, ca. 3' per set.
823:
1292:(2 Bâ™ cl., Bâ™ Bass cl., soprano sax., alto sax., tenor sax., 6 vln); ca. 4'.
644:
587:
306:
2310:- en / l'espace de... (XXVI–XXX) (soprano and chamber orchestra); ca. 2 ¼’.
750:"A Proliferation of Canons II: Luigi Dallapiccola's Goethe Lieder, No. 6",
1004:"Iannis Xenakis' Nomos Alpha: The Dialectics of Structure and Materials",
2830:
Against the Silence: A Study of the Solo Percussion Music of Thomas DeLio
2356:
Five Pieces for Clarinet and Percussion (Bbcl., perc. (1 player)); ca 4’.
2330:
lymn (XXX- XXXIV) (fl., ob., Bb cl., bsn., 2 vin., vla., vcl.); ca. 1 ½’.
1957:
1942:(speaker, fl., B♠cl., vln., cb., piano) text: Stéphane Mallarmé; ca. 1'.
1315:(2 fl., alto fl., 3 Bâ™ cl., 12 vln., 2 vla.); eight sets, ca. 3' per set.
1062:"Roger Reynolds", "Electro-Acoustic Music II", "The Contemporary Flute",
176:
110:
1690:(soprano, 3 Bâ™ cl., 2 perc., piano, harp), texts: Cid Corman; ca. 10'
757:"A Proliferation of Canons: Luigi Dallapiccola's Goethe Lieder No. 2,”
342:
part of a process of evolution. This is different from Cage or Feldman.
1508:(Bâ™ cl., Bâ™ tpt., 2 vln., 2 vla., 2 vcl.); three sets, ca. 4' per set.
869:(Lanham, Maryland.: University Press of America, 1983), pp. 1–7.
1275:(untitled) installation; Brown University, Providence, Rhode Island.
571:"The Open Universe, Revisited", Thomas DeLio: Composer and Scholar (
2333:
XXXII–XXXVI (fl., ob., Bb cl., bsn., 2 vln., vla., vcl.); ca. 1 ½’.
2257:(fl., B♠cl. doubling bass cl., vln., cello, piano, perc.); ca. 2’.
961:"John Cage's Variations II: The Morphology of a Global Structure",
2327:
sc, s (X–XIII) (ob., Bb. Cl., soprano sax., vln., vla.); ca. 1 ¾’.
1015:
Contiguous Lines; Issues and Ideas in the Music of the 60s and 70s
881:
Contiguous Lines; Issues and Ideas in the Music of the 60s and 70s
654:(Dordrecht, The Netherlands: Etcetera Recordings, KTC 1227, 2000).
496:
Contiguous Lines; Issues and Ideas in the Music of the 60s and 70s
368:
197:
DeLio has also written books, including one analyzing the work of
141:
2700:, flute, piano, percussion, tape (Acton, MA: Neuma 450-90, 1995).
2604:, soprano and chamber ensemble (Acton, MA: Neuma, 450–102, 2002).
2289:(flute, Bâ™ clarinet, violin, cello, percussion, piano), based on
1425:(untitled) installation, proposal; Boston University, Boston, MA.
780:"Structure as Behavior: Christian Wolff's For l, 2 or 3 People",
448:, Italian translation of Circumscribing the Open Universe (Rome:
2350:
folium (Bb cl., ob., soprano sax., 10 vln., vla., vcl.); ca. 5’.
1332:(2 fl., alto fl., 3 Bâ™ cl., 6 vln.); three sets, ca. 3' per set.
1309:(Bâ™ cl./Bâ™ bass cl., Bâ™ tpt., 6 vln.); two sets, ca. 4' per set.
650:"On Christian Wolff" (English, French and German translations),
2583:, orchestra (Mt. Prospect, Illinois: ERMMedia, ERM-6692, 2003);
2471:
inents (seven electroacoustic compositions); various durations.
2187:(3 Bâ™ cl., ob., bsn., C tpt., piano, vln., vla., vcl.); ca. 3'.
1069:"Electro-Acoustic Music: Classics" (Babbitt, Xenakis, et al.),
205:) and another offering analysis of several "open form" works (
18:
2761:, saxophone and piano (Harriman, NY: Spectrum, SR-163, 1982).
2559:, percussion solo (Baton Rouge, LA: Centaur, CRC-2742, 2006).
2439:
sound / shivering / silence II (percussion quartet); ca. 12’.
2307:...zwischen den Worten (tape), texts – Paul Celan; ca. 8 ½’.
2652:, piano and percussion (New York: Capstone, CPS 8645, 1997).
2598:
electronic opera (Baton Rouge, LA: Centaur, CRC-2633, 2003).
2474:
sound / shivering / silence III (percussion sextet); ca. 14'
2199:(piccolo, Bâ™ cl. Eng. Hn., Bâ™ tpt., 2 vln., 2 vla.); ca. 2'.
1766:(6 voices, 2 dancers, 4 perc.) text – William Bronk; ca. 4'.
734:, Thomas DeLio and Stuart Smith, editors (Lanham, Maryland:
604:"su una nota sola: Giacinto Scelsi's Quattro Pezzi, No. 3",
2367:"sam", version for single widescreen hdtv, stereo; ca. 17'.
1379:(untitled) installation; Kornblatt Gallery, Washington, DC.
1907:(fl., Bâ™ cl., C tpt., vln., vcl., piano, perc.); ca. 2'
1267:(untitled) installation; Brown University, Providence, RI.
1124:(vol. 20, no. 2, 1987), pp. 169–185; subject in part.
1115:(research edition: vol. 22, no. 3, 1984), pp. 42–67.
802:(research edition; vol. 21, no. 6, 1983), pp. 15–22.
784:(research edition; vol. 22, no. 6, 1984), pp. 46–53.
777:(research edition; vol. 22, no. 6, 1984), pp. 76–81.
301:
DeLio's approach to composition is largely influenced by
2694:, flute, percussion ensemble (Paris: 3D, 3D-8014, 1996).
2411:...á l'autre, ainsi (piano, chamber orchestra); ca. 6 ¾’
1945:
or (ob., 2 Bâ™ cl., C tpt., vln., vcl., 1 perc.); ca. 2'.
1217:(fl., Bâ™ cl., alto sax., vln, vla, vcl., piano); ca. 9'.
2755:, wind ensemble (Harriman, NY: Spectrum, SR-302, 1985).
2640:, percussion solo (New York: Capstone, CPS 8645, 1997).
741:"Structure and Strategy: Iannis Xenakis' Linaia-Agon",
730:"Sound Installation: The Strathmore Hall Art Center",
2849:
2688:, computer generated tape (Paris: 3D, 3D-8014, 1996).
2682:, computer generated tape (Paris: 3D, 3D-8014, 1996).
2419:
sound / shivering /silence (percussion solo); ca. 9’.
2347:
for string orchestra (10 vln., vla., vcl.): ca. 1 ¾’.
2324:
cs, s (XIV–XVII) (ob., Bb cl., vln., vla.); ca. 1 ¾’.
1823:(fl., ob., 3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1338:(6 vln., 4 vla., 2 vcl.); three sets, ca. 4' per set.
1326:(4 vls., 4 vla., 4 vcl.); three sets, ca. 2' per set.
1118:"Automated Composition in Retrospect", Charles Ames,
876:(Brussels: vol. 10, no. 3–4, 1981), pp. 199–219.
770:(Bülle, Switzerland: no. 49, 1985), pp. 102–103.
2835:
Wiggins, Tracy. "A Conversation with Thomas DeLio",
2773:, piano solo (Harriman, NY, Spectrum, SR-128, 1980).
2767:, piano solo (Harriman, NY: Spectrum, SR-144, 1982).
1603:(3 Bâ™ cl., Bâ™ tpt., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1468:(6 vln., 6 vla. 6 vcl.); three sets, ca. 3' per set.
1136:= Smith Publications/Sonic Art Editions (Baltimore)
754:(Brussels: vol. 16, nos. 1–2, 1987), pp. 38–47.
2783:DeLio, Thomas. "Circumscribing the Open Universe",
2749:
______________ (Paris: 3D Classics, 3D-8014, 1996).
2736:, chamber ensemble (Acton, MA: Neuma 450-81, 1993).
1479:(perc. ensemble, piano, 4-channel tape); ca. 20'
1108:(Brussels: vol.16, nos. 1–2, 1987), pp. 55–73.
894:(Brussels: vol. 10, no. 2, 1981), pp. 137–146.
842:(Brussels: vol. 12, no. 3, 1981), pp. 465–480.
747:(Brussels: vol. 16, no. 3, 1987), pp. 143–164.
727:(Brussels: vol. 18, no. 3, 1989), pp. 195–217.
639:"A Question of Order: Cage, Wolpe, and Pluralism",
2577:, piano solo (New York: Capstone, CPS-8745, 2005).
2571:, piano solo (New York: Capstone, CPS-8745, 2005).
2565:, piano solo (New York: Capstone, CPS-8745, 2005).
2304:Transparent Wave VIII (percussion solo); ca. 1 ¼’.
1897:(fl., Bâ™ cl., vln., perc., (one player)); ca. 2'
1298:(10 vln., 4 vla., 4 vcl.); 5 sets, ca. 4' per set.
988:"Spatial Design in Elliott Carter's Canon for 3",
985:(Paris: nos. 13–14–15, 1987–88), pp. 169–176.
2301:Transparent Wave VII (saxophone solo); ca. 1 ¾’.
1739:(fl., ob., B♠cl., vln., piano, perc.); ca. 2 ¾’.
1669:(ob., 3 Bâ™ cl., Bâ™ tpt., 2 vla., 2 vcl.); ca. 2'.
125:DeLio received bachelor of music degree from the
1710:(soprano, ob. 3 Bâ™ cl., piano, 2 perc.), texts:
1644:(ob., 3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1052:(vol. 26, no. 2; Summer 2002), pp. 103–107.
967:(vol. 19, nos. 1 and 2, 1980), pp. 351–371.
714:: Nonlinearity and Computer Aided Composition",
698:(London: vol. 7, no. 2, 1993), pp. 141–162.
636:(vol. 39, no. 1; Winter 2001), pp. 231–243.
52:but its sources remain unclear because it lacks
2825:. University of Maryland School of Music, 2006.
2792:DeLio, Thomas. "The Complexity of Experience",
2431:Song: "aengus" (tape), text P. Inman; ca. 5 ¼’.
1095:"Against the Silence...", Christopher Shultis,
1078:Mnemonics, Oro, Argento & Legno, Archimedes
593:"The Sonic Landscape: Bewegt by Anton Webern",
388:The New Grove Dictionary of Music and Musicians
349:
339:
2799:DeLio, Thomas. "Lecture by Dr. Thomas DeLio",
2488:et absence (violin, percussion sextet); ca. 7'
2246:(tape, 5.1 surround), text – P. Inman; ca. 8’.
1259:(3 Bâ™ cl., 2 vln., 2 vcl.); ca. 3' per series.
1084:(vol. 14, no. 2; Summer 1990), pp. 71–72.
832:"Toward an Art of Immanence: Morton Feldman's
621:Electroacoustic Music: Analytical Perspectives
2819:. ed. L. Macy Oxford. University Press, 2006.
2451:Sakuteiki (surround version) (tape); ca. 6’.
2391:transients / refractions (orchestra); 5 1/2'.
691:(vol. 15, no. 2; Fall, 1994), pp. 17–20.
641:The New York Schools of Music and Visual Arts
558:, vol. 34, nos. 5–6, 2016), pp. 367–372.
551:, vol. 34, nos. 5–6, 2016), pp. 478–492.
8:
2664:, tape (New York: Capstone, CPS 8645, 1997).
2658:, tape (New York: Capstone, CPS 8645, 1997).
2646:, tape (New York: Capstone, CPS 8645, 1997).
2634:, tape (New York: Capstone, CPS 8645, 1997).
2616:, tape (New York: Capstone, CPS-8669, 1999).
2610:, tape (New York: Capstone, CPS-8693, 2001).
1150:(soprano, 3 Bâ™ cl., vln. vla. vcl.), texts:
862:(vol. 20, nos. 1/2, 1981), pp. 357–362.
720:(Brussels: vol. 20, 1991), pp. 153–163.
396:Baker's Biographical Dictionary of Musicians
2454:Schaufäden (Sight Threads) (tape); ca. 3’.
2344:Five Pieces for Piano (piano solo): ca. 4’.
1680:(soprano, 3 Bâ™ cl., piano, 2 perc.), text:
1638:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 4'.
1614:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
1597:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1591:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1514:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
1496:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1409:(3 Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 1'.
932:(Brussels: vol. 17, no. 2), pp. 65–77.
544:" (College Music Symposium, vol. 56, 2016).
2445:Hörreste (Soundscrapes) (tape); ca. 4 ½’.
2149:(fl., Bâ™ cl., vcl., piano, perc.); ca. 2'.
694:"Time Transfigured: Erik Satie's Parade",
565:, vol. 23, no. 6, 2013), pp. 589–638.
2676:, tape (Acton, MA: Neuma, 450-492, 1996).
2670:, tape (Acton, MA: Neuma, 450-492, 1996).
2622:, tape (Acton, MA: Neuma, 450–499, 1999).
2553:, tape (Acton, MA: Neuma, 450–105, 2006).
2547:, tape (Acton, MA: Neuma, 450–105, 2006).
2541:, tape (Acton, MA: Neuma, 450–105, 2006).
2370:jeu de timbres (percussion solo); ca. 6'.
2234:(percussion ensemble, soprano); ca. 5 ½’.
1626:(Bâ™ cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
1059:(vol. 19, no. 1, 1994), pp. 114–115.
907:(vol. 67, no. 2, 1981), pp. 527–543.
763:(vol. 23, no. 2, 1985), pp. 186–195.
667:, ed. (Kassel: Bärenreiter-Verlag, 1999).
91:Learn how and when to remove this message
2806:DeLio, Thomas. "Structure as Behavior",
2712:, piano (Acton, MA: Neuma 450-90, 1995).
2463:Weissgrau (Whitegray) (tape); ca. 4 ½’.
2394:et avant / image (fl., 9 perc.); ca. 7'.
723:"An Exercise: Dismantling the Silence",
287:University of Maryland, Baltimore County
279:University of North Carolina at Pembroke
213:edited by Dr. Thomas Licata (Professor,
2856:
2730:, tape (Acton, MA: Neuma 450-90, 1995).
2724:, tape (Acton, MA: Neuma 450-90, 1995).
2718:, tape (Acton, MA: Neuma 450-90, 1995).
2706:, tape (Acton, MA: Neuma 450-90, 1995).
2628:, tape (Acton, MA: Neuma,450-99, 1999).
2477:Three Songs (soprano, orchestra); ca 6'
2228:(B♠clarinet and string quartet); 2 ½’.
1066:(vol. 17, no. 3, 1993), pp. 70–73.
1028:(vol. 18, no. 1, 1979), pp. 61–67.
1010:(vol. 24, no. 1, 1980), pp. 63–95.
928:_____________, (revised and expanded),
707:(vol. 31, no. 1, 1993; pp. 64–77).
2448:In Prag (In Prague) (tape); ca. 6 ¾’.
2193:(fl., cl., vln., vcl., perc.); ca. 2'.
1714:, Basil Bunting, Cid Corman; ca. 14'
217:) appeared in summer of 2007 from the
115:University of Maryland in College Park
106:(born January 7, 1951) is an American
950:"Philip Glass" and "Steve Reich", in
660:Die Musik in Geschichte und Gegenwart
7:
2934:21st-century American male musicians
2842:York, Wesley. "A Draft of Shadows",
2810:, research edition. September, 1984.
2803:, research edition. September, 1984.
2460:Vorflut (Outfall) (tape); ca. 1 ½’.
2336:Sakuteiki (XXII–XXIV) (tape); ca. 6’
1632:(3 Bâ™ cl., 2 Bâ™ tpt., tbn.); ca. 4'.
1549:(soprano, fl., piano, perc.), text:
1344:(3 Bâ™ cl., 4 vln., 2 vla.); ca. 2'.
856:"Circumscribing the Open Universe",
2839:, research edition. February, 2006.
2832:, DMA diss. The Hartt School, 2004.
2457:Sichtbar (Visible) (tape); ca. 5’.
2388:(orchestrated by Thomas DeLio); 3'.
1700:(fl., piano, perc., tape; ca. 10'
1486:(untitled) installation, proposal;
1428:(untitled) installation, proposal;
1392:(3 Bâ™ cl., 4 vln., 2 vla.); ca. 4'.
1111:"A Draft of Shadows", Wesley York,
1099:(vol. 27, no. 1, 1988), p. 64.
259:University of California, San Diego
2353:that light (soprano solo); ca. 6’.
1430:University of Maryland Art Gallery
606:Thomas DeLio: Composer and Scholar
595:Thomas DeLio: Composer and Scholar
540:"A Web of Words: Elliott Carter's
211:Thomas DeLio: Composer and Scholar
14:
2813:Johnson, Steven. "Thomas DeLio",
2518:, computer music (Neuma 450–201).
2442:après Belle-Isle (tape); ca. 2’.
2422:anti-paysage II (tape); ca. 7 ¾’.
2211:(Bâ™ cl., 2 vln., 2 vla.); ca. 2'.
1585:(2 vln., 2 vla., 2 vcl.); ca. 2'.
1537:(3 Bâ™ cl., oboe, 2 vla.); ca. 2'.
1520:(3 Bâ™ cl., 4 vln., 2 vla.);ca. 3'
1450:(2 vln., 2 vla., 2 vcl.); ca. 1'.
1192:(chorus SATB, vcl., perc.) text:
1186:(soprano, piano, 3 perc); ca. 9'.
1073:(vol. 15, no. 2; 1991), pp 77–79.
127:New England Conservatory of Music
2871:
2859:
2846:, research edition. March, 1984.
1579:(fl., 3 Bâ™ cl., 2 vln.); ca. 2'.
1165:for piano (on one note); ca. 5'.
972:Circumscribing the Open Universe
912:Circumscribing the Open Universe
867:Circumscribing the Open Universe
847:Circumscribing the Open Universe
829:(Cologne: 1986), pp. 36–39.
807:Circumscribing the Open Universe
789:Circumscribing the Open Universe
701:"The Complexity of Experience",
647:, 2002), pp. 135–157.
623:, Thomas Licata, ed. (New York:
436:Circumscribing the Open Universe
285:, Thomas Goldstein (Professors,
207:Circumscribing the Open Universe
23:
2914:21st-century American composers
2013:(tape) text – P. Inman; ca. 9'.
1488:Washington Project for the Arts
958:, 1981), pp. 55–57, 85–87.
925:(Spring, 1981), pp. 14–27.
643:, Steven Johnson, ed. (London:
221:. This book contains essays by
2313:XXIII–XXVII (tape); ca. 3’17”.
2279:(percussion, piano), based on
1207:(soprano sax., piano); ca. 8'
773:"Lecture: Return and Recall",
514:Twentieth Century Music Scores
509:(co-editor with Stuart Smith)
261:), Steven Johnson (Professor,
1:
1876:(percussion solo); ca. 2'
1573:(fl., ob., 3 Bâ™ cl.); ca. 2'.
1171:(2 vln., vla., vcl.); ca. 5'.
890:"The Music of Alvin Lucier",
872:"Sound, Gesture and Symbol",
696:The Contemporary Music Review
678:, Thomas DeLio, ed. (London:
563:The Contemporary Music Review
556:The Contemporary Music Review
554:"Introduction: Music/Text", (
549:The Contemporary Music Review
174:, Contemporary Music Review,
2514:, computer music and video;
2269:(percussion solo), based on
2166:(percussion solo), based on
1990:(string orchestra); ca 2 ½’.
945:University of Michigan Press
63:, especially if potentially
35:biography of a living person
1648:At Briggflatts meetinghouse
1620:(3 Bâ™ cl., 4 vln.); ca. 3'.
1563:(snare drum solo); ca. 2’
1543:(3 Bâ™ cl., 2 vla.); ca. 5'.
1526:(3 Bâ™ cl., 2 vla.); ca. 2'.
1386:Art Gallery, Baltimore, MD.
1019:University Press of America
1001:(Fall 1980), pp. 9–15.
994:(Fall 1980), pp. 1–12.
976:University Press of America
916:University Press of America
885:University Press of America
851:University Press of America
811:University Press of America
793:University Press of America
736:University Press of America
676:The Music of Morton Feldman
528:University Press of America
500:University Press of America
490:The Music of Morton Feldman
440:University Press of America
203:The Music of Morton Feldman
133:. He received a Ph.D. from
61:must be removed immediately
2950:
2589:Masterworks of the New Era
2205:(4 vln., 4 vcl.,); ca. 2'.
2176:(vibraphone solo); ca. 2'.
1033:Breaking the Sound Barrier
947:, 1993), pp. 163–175.
887:, 1985), pp. 111–141.
738:, 1989), pp. 197–207.
575:, 2007), pp. 223–230.
249:(Professor of Musicology,
2794:Perspectives of New Music
2786:Perspectives of New Music
2244:Song: Foxrock near Dublin
1456:(Bâ™ cl., 6 vln.); ca. 2'.
1440:(untitled) installation;
1418:(untitled) installation;
1382:(untitled) installation;
1372:(untitled) installation;
1169:The River Merchant's Wife
964:Perspectives of New Music
859:Perspectives of New Music
813:, 1983), pp. 89–105.
760:Perspectives of New Music
704:Perspectives of New Music
633:Perspectives of New Music
485:(editor and contributor)
147:Perspectives of New Music
2929:American music theorists
2924:American music educators
2485:SpĂĽren (Traces) ca. 3.5'
2093:(marimba solo); ca. 2'
1798:(piano, perc.); ca. 6'
1745:(fl., 3 perc.); ca. 3'
1650:(soprano, piano), text-
937:Writings About John Cage
921:"Structure as Context",
918:, 1983), pp. 69–88.
853:, 1983), pp. 29–47.
795:, 1983), pp. 49–67.
682:, 1996), pp. 39–68.
627:, 2002), pp. 41–57.
263:Brigham Young University
243:University of New Mexico
67:or harmful. Please help
2909:American male composers
2904:Brown University alumni
2382:Quatre Petites MĂ©lodies
2287:transients / resonances
1813:(piano solo); ca. 5'
1420:Baltimore Museum of Art
1257:4 Series/I, II, III, IV
1140:= Semar Editore (Rome)
1021:, 1985), pp. 3–30.
1007:Journal of Music Theory
978:, 1983), pp. 9–27.
516:(Englewood Cliffs, NJ:
352:seems important to me.
271:Eastman School of Music
153:Journal of Music Theory
75:more precise citations.
2744:ComputerMusic Currents
2740:Against the silence...
1678:Bright seaweed reaping
1477:Against the silence...
1365:(piano solo); ca. 8'
1355:(piano solo); ca. 8'
1082:Computer Music Journal
1071:Computer Music Journal
1064:Computer Music Journal
1057:Computer Music Journal
1049:Computer Music Journal
468:, Patricia Burt, ed.;
381:Biographical citations
354:
344:
320:
183:Computer Music Journal
129:where he studied with
2919:American male writers
2765:Marginal Developments
2656:...a different liquid
2232:qu'un espace / sépare
2103:(cello solo); ca. 4'.
2042:(soprano solo) text:
1829:(piano solo); ca. 1'.
1238:(piano solo); ca. 9'
1223:(piano solo); ca. 9'
1221:Marginal Developments
1152:Federico GarcĂa Lorca
991:Indiana Theory Review
904:The Musical Quarterly
688:Indiana Theory Review
590:, 2005), pp. vii–xiv.
315:
225:(Professor Emeritus,
159:Indiana Theory Review
2040:Transparent Wave III
899:Structural Pluralism
331:twelve pitch classes
289:) and Michael Boyd (
241:(Regents Professor,
235:University of Naples
2662:to make / -as / in-
2291:Transparent Wave VI
2281:Transparent Wave VI
2277:transients / images
2271:Transparent Wave VI
2240:(fl., cello); 1 ¾’.
2174:Transparent Wave VI
2168:Transparent Wave IV
2091:Transparent Wave IV
1930:to make / -as / in-
1905:as though, so again
1827:Transparent Wave II
1432:, College Park, MD.
1017:(Lanham, Maryland:
974:(Lanham, Maryland:
956:Wesleyan University
941:Richard Kostelanetz
914:(Lanham, Maryland:
883:(Lanham, Maryland:
849:(Lanham, Maryland:
809:(Lanham, Maryland:
791:(Lanham, Maryland:
547:"(ex)Congruities" (
526:(Lanham, Maryland:
498:(Lanham, Maryland:
438:(Lanham, Maryland:
391:(1999–2000 edition)
357:Compositional style
239:Christopher Shultis
2816:Grove Music Online
2674:Pine, Bamboo, Plum
2569:Transparent Wave V
2267:transients / waves
2101:Transparent Wave V
1940:que cela se puisse
1868:Pine, Bamboo, Plum
1180:A Draft of Shadows
1046:"Roger Reynolds",
983:Revue d'Esthetique
610:Edwin Mellen Press
599:Edwin Mellen Press
582:(second edition),
573:Edwin Mellen Press
470:Edwin Mellen Press
415:Edwin Mellen Press
291:Chatham University
231:Agostino Di Scipio
188:Revue d'esthétique
108:experimental music
40:list of references
2753:Partial Manifolds
2126:, (tape); ca. 1'.
1915:as though / after
1850:(tape); ca. 3'
1840:(tape); ca. 2'
1772:(tape); ca. 6'
1551:Stéphane Mallarmé
1490:, Washington, DC.
1466:Five Variants III
1403:(6 vln.); ca. 2'.
1376:, Washington, DC.
834:Durations III, #3
657:"Robert Ashley",
615:"Iannis Xenakis'
446:L'Universo Aperto
423:978-0-7734-5176-6
101:
100:
93:
16:American composer
2941:
2876:
2875:
2874:
2864:
2863:
2862:
2855:
2844:Percussive Notes
2837:Percussive Notes
2828:Wiggins, Tracy.
2808:Percussive Notes
2801:Percussive Notes
2796:. vol. 31, 1993.
2789:. vol. 20, 1981.
2030:(tape); ca. 2'.
1978:(tape); ca . 1'.
1972:(tape); ca. 1Âľ'.
1934:Leslie Scalapino
1895:as though, again
1860:(tape); ca. 4'
1788:(tape); ca. 2'
1729:(tape); ca. 3'
1561:Transparent Wave
1460:Five Variants II
1444:, Rockville, MD.
1422:, Baltimore, MD.
1374:Corcoran Gallery
1194:Robinson Jeffers
1113:Percussive Notes
1097:Percussive Notes
827:
800:Percussive Notes
782:Percussive Notes
775:Percussive Notes
732:Words and Spaces
652:Christian Wolff
542:End of a Chapter
524:Words and Spaces
399:, eighth edition
251:Ghent University
227:Clark University
215:Hartwick College
192:Percussive Notes
135:Brown University
96:
89:
85:
82:
76:
71:this article by
54:inline citations
27:
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2872:
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2850:
2780:
2668:"because the...
2545:Belle-Isle I–IV
2498:
2217:(tape); ca. 3'.
2160:(tape); ca. 7'.
2158:Belle-Isle I–IV
2132:(tape); ca. 1'.
2120:(tape); ca. 1'.
2087:(tape); ca. 4'.
2081:(tape); ca. 2'.
2075:(tape); ca. 2'.
2069:(tape); ca. 2'.
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2036:(tape); ca. 1'.
2019:(tape); ca. 1'.
2007:(tape); ca. 1'.
2001:(tape); ca. 1'.
1984:(tape); ca. 2'.
1891:(tape); ca. 2'.
1870:(tape); ca. 2'.
1782:(tape); ca. 6'.
1442:Strathmore Hall
1413:Six Variants II
1330:Five Variants I
1131:
1076:"James Dashow:
1031:_____________,
1013:_____________,
999:Winds Quarterly
997:_____________,
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970:_____________,
935:_____________,
910:_____________,
879:_____________,
865:_____________,
845:_____________,
821:
816:_____________,
805:_____________,
787:_____________,
680:Greenwood Press
672:Last Pieces, #3
665:Ludwig Finscher
625:Greenwood Press
460:Pendragon Press
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1954:think on parch
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578:Introduction,
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303:Morton Feldman
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165:In Theory Only
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1324:Four Variants
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712:contrecoup...
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586:. (New York:
585:
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477:9781495505928
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450:Semar Editore
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284:
280:
276:
275:Tracy Wiggins
272:
268:
267:Robert Morris
264:
260:
256:
255:Morris Palter
252:
248:
247:Hermann Sabbe
244:
240:
236:
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223:Wesley Fuller
220:
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21:
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2698:anti-paysage
2697:
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2673:
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2655:
2649:
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2637:
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2595:
2588:
2587:part of the
2586:
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2556:
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2190:
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2157:
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2141:amounts. to.
2140:
2135:
2129:
2123:
2117:
2111:
2106:
2100:
2094:
2090:
2084:
2078:
2072:
2066:
2061:
2055:
2049:
2044:A. R. Ammons
2039:
2033:
2027:
2022:
2016:
2010:
2004:
1998:
1993:
1987:
1981:
1975:
1969:
1963:
1953:
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1721:
1715:
1708:granite, and
1707:
1701:
1698:anti-paysage
1697:
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1677:
1672:
1666:
1661:
1655:
1647:
1641:
1635:
1629:
1623:
1617:
1611:
1606:
1601:Five (12-87)
1600:
1595:Five (11-87)
1594:
1588:
1582:
1576:
1570:
1564:
1560:
1554:
1546:
1540:
1534:
1529:
1524:Five (12-86)
1523:
1518:Five (11-86)
1517:
1511:
1505:
1499:
1493:
1480:
1476:
1471:
1465:
1459:
1453:
1448:Three (5-85)
1447:
1435:
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1395:
1389:
1366:
1362:
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1199:
1189:
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1174:
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1157:
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1133:
1132:
1129:Compositions
1119:
1112:
1103:
1096:
1088:
1087:
1081:
1077:
1070:
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989:
982:
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951:
943:(Ann Arbor:
939:, edited by
936:
929:
922:
911:
902:
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731:
724:
715:
711:
702:
695:
686:
675:
671:
658:
651:
640:
631:
620:
617:Diamorphoses
616:
605:
594:
579:
562:
555:
548:
541:
534:
533:
523:
513:
506:
505:
495:
489:
482:
481:
465:
455:
445:
435:
428:
427:
410:
403:
402:
394:
386:
380:
379:
376:Bibliography
367:
364:
360:
350:
345:
340:
335:
327:dodecaphonic
324:
321:
316:
300:
283:Linda Dusman
269:(Professor,
253:, Belgium),
233:(Professor,
219:Mellen Press
210:
206:
202:
196:
191:
187:
181:
175:
169:
163:
157:
151:
145:
139:
131:Robert Cogan
124:
104:Thomas DeLio
103:
102:
87:
81:October 2021
78:
60:
51:
33:
2894:1951 births
2293:; ca. 5 ½’.
2283:; ca. 5 ½’.
2147:so, between
1821:Five (1-93)
1642:Five (6-88)
1630:Five (5-88)
1624:Five (3-88)
1618:Five (2-88)
1612:Five (1-88)
1589:Five (8-87)
1583:Four (8-87)
1577:Five (7-87)
1571:Five (6-87)
1553:; ca. 9½'
1541:Five (2-87)
1535:Five (1-87)
1512:Four (9-86)
1500:Four (6-86)
1494:Four (5-86)
1454:Five (7-85)
1342:Four (9-82)
1296:Five (8-80)
1290:Five (6-80)
1279:Four (8-79)
1184:Octavio Paz
822: [
766:"Spectra",
630:"Xenakis",
580:Mind Models
73:introducing
38:includes a
2888:Categories
2778:References
2632:though, on
2496:Recordings
2386:Erik Satie
2130:, c, el, f
2085:Center / s
1964:though, on
1960:; ca. 19'.
1682:Cid Corman
1654:; ca. 7'
1636:Six (5-88)
1506:Six (7-86)
1390:Six (1-83)
1336:Six (4-82)
1307:Six (1-81)
1196:; ca. 13'.
1182:, texts –
1148:Media Luna
1091:(subject)
819:MusikTexte
406:(subject)
297:Influences
237:, Italy),
2866:Biography
2638:as though
2502:450–202).
2273:; ca. 4’.
2170:; ca. 4'.
2046:; ca. 2'.
1936:; ca. 5'.
1874:as though
1688:Two Songs
1684:; ca. 4'.
1190:Cassandra
1154:; ca. 6'.
1105:Interface
1042:(author)
930:Interface
892:Interface
874:Interface
839:Interface
752:Interface
744:Interface
725:Interface
717:Interface
645:Routledge
588:Routledge
431:(author)
307:John Cage
171:Interface
121:Biography
2771:Serenade
2759:Gestures
2728:of again
2722:on again
2716:so again
2686:as again
2644:so again
2620:plinh, h
2591:series.
2557:wave / s
2539:Center/s
2384:(1920),
2164:wave / s
2112:et ainsi
1958:P. Inman
1858:of again
1848:on again
1838:so again
1770:as again
1353:Sequence
1236:Serenade
1205:Gestures
1121:Leonardo
1089:Articles
1055:"Rasa",
1026:Artforum
952:No Title
612:, 2006).
601:, 2006).
462:: 2010).
442:, 1983).
177:Artforum
111:composer
65:libelous
2852:Portals
2746:series.
2692:between
2510:music;
2261:onnh II
2226:IV–VIII
2221:2005
1976:plin, x
1970:plin, h
1764:Equinox
1743:between
1040:Reviews
452:, 2001)
413:, ed. (
69:improve
2710:Though
2626:m, nce
2614:decker
2602:Center
2563:Though
2516:aengus
2426:aengus
2255:onnh I
2215:Zilahn
2124:cel, f
2118:ce, lf
2050:Center
2034:inc, e
2011:decker
2005:nna, c
1999:n, mcr
1982:m, nce
1811:Though
1667:(6-89)
1215:Traces
1163:Sonata
535:Essays
475:
421:
309:, and
190:, and
2680:so on
2551:qu, m
2481:2016
2467:2015
2435:2014
2415:2013
2404:2012
2377:2011
2360:2010
2340:2009
2317:2008
2297:2007
2250:2006
2238:mn, s
2209:alomn
2191:e, nm
2185:e/ede
2180:2004
2153:2003
2136:2002
2107:2001
2095:Smith
2079:z, rb
2073:qu, r
2067:qu, m
2062:2000
2023:1999
1994:1998
1988:as in
1949:1997
1925:1996
1919:Smith
1909:Smith
1899:Smith
1884:1995
1878:Smith
1862:Smith
1852:Smith
1842:Smith
1833:1994
1815:Smith
1806:1993
1800:Smith
1790:Smith
1786:so on
1780:as so
1774:Smith
1759:1992
1747:Smith
1731:Smith
1722:1991
1716:Smith
1702:Smith
1692:Smith
1673:1990
1662:1989
1656:Smith
1607:1988
1565:Smith
1555:Smith
1530:1987
1481:Smith
1472:1986
1436:1985
1396:1984
1367:Smith
1357:Smith
1348:1983
1319:1982
1302:1981
1285:1980
1271:1979
1263:1978
1246:1977
1240:Semar
1231:1974
1225:Semar
1209:Semar
1200:1973
1175:1972
1158:1971
1143:1970
1138:Semar
1134:Smith
923:Sonus
826:]
507:Books
483:Books
429:Books
404:Books
369:tempo
142:Wergo
46:, or
32:This
2581:Than
2575:Text
2203:Ilil
2028:x, e
2017:n, c
1753:Than
1384:UMBC
1363:Text
1251:I–VI
473:ISBN
419:ISBN
293:) .
2650:not
2512:sam
2197:Iol
1796:not
1737:for
1080:",
836:",
674:",
619:",
458:, (
281:),
273:),
265:),
245:),
229:),
2890::
2704:Of
1727:Of
824:de
663:,
305:,
194:.
186:,
180:,
168:,
162:,
156:,
150:,
117:.
50:,
42:,
2854::
2097:.
1921:.
1911:.
1901:.
1880:.
1864:.
1854:.
1844:.
1817:.
1802:.
1792:.
1776:.
1749:.
1733:.
1718:.
1704:.
1694:.
1658:.
1567:.
1557:.
1483:.
1407:3
1401:4
1369:.
1359:.
1242:.
1227:.
1211:.
897:"
710:"
670:"
608:(
597:(
277:(
257:(
201:(
94:)
88:(
83:)
79:(
57:.
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