From Tedb0t:

Found this fascinating blog post about Stravinsky and his controversial comment:

using reason


here is a little youtube demo on how to get started using Reason for those of you interested in working with it to create your pieces.


there should be a few computers in the AV lab with reason installed.



here are some good online articles regarding Olivier Messiaen’s use of rhythm.  Pay close attention to the idea of “non-retrogradable” rhythms, (rhythms that are perfectly symmetrical…palindromes….e.g. (2+3+5+3+2) and added values.


this is a great interview by Wim Mertens with John Cage talking a bit about John Cage’s feeling about composition, Glenn Branca’s music, society, language…

fun to hear Cage’s thoughts on music in the No Wave era.

Great overview of 20th century music with audio samples.

I highly recommend his book “the rest is noise“…now in paperback…


for our purposes, check out these sections:

DOCTOR FAUST: Schoenberg, Debussy, and Atonality


ZION PARK: Messiaen, Ligeti, and the Avant-Garde of the Sixties



sol lewitt

sol lewitt




Hey there…welcome to the new blog.  For week 2 we’re talking about Serialism.  

I can’t recommend this book enough:

Introduction to post-tonal theory: Joseph Straus


And here’s a pretty massive and impressive reading list by Peter Castine on the subject in case you’d like to start digging deeper into the technique:

Forte, Allen. The Structure of Atonal Music. New Haven, Conn.: Yale University Press, 1973.
Morris, Robert D. Class Notes for Atonal Music Theory. Hanover, New Hamphsire: Forg Peak Music, 1991.
Morris, Robert D. Composition with Pitch-Classes. New Haven: Yale University Press, 1987.
Rahn, John. Basic Atonal Theory. New York: Schirmer Books, 1980.

further reading
Alphonce, Bo Harry. “The Invariance Matrix.” Ph.D. dissertation, Yale University, 1974.
Babbitt, Milton. “Set Strucuture as a Compositional Determinant.” JMT 5, no. 2 (1961): 72-94.
Babbitt, Milton. “Some Aspects of TwelveTone Composition.” 12 (1955): 53-61.
Babbitt, Milton. “TwelveTone Invariants as Compositional Determinants.” MQ 46, no. 2 (1960): 246-59.
Chrisman, Richard. “Identification and Correlation of Pitch-Sets.” JMT 15, no. 1 and 2 (1971): 58-83.
Clough, John. “Diatonic Interval Sets and Transformational Structures.” PNM 18, no. 1&2 (1979): 461-482.
Clough, John. “Pitch-Set Equivalence and Inclusion (A Comment on Forte’s Theory of Set-Complexes).” JMT 9, no. 1 (1965): 163-71.
Forte, Allen. “Sets and Non-Sets in Schoenberg’s Atonal Music.” PNM 11, no. 2 (1972): 43-64.
Forte, Allen. “The structure of atonal music: Practical aspects of a computer-oriented research project.” In Musicology and the Computer. 
Musicology 1966-2000: A Practical Program. Three Symposia. New York: American Musicological Society, 1970.
Hanson, Howard. Harmonic Materials of Modern Music: Resources of the Tempered Scale. New York: Appleton-Century-Crofts, 1960.
Lewin, David. “Forte’s interval vector, my interval function, and Regener’s common-note function.” JMT 21, no. 2 (1977): 194-237.
Lewin, David. Generalized Musical Intervals and Transformations. New Haven, Conn.: Yale University, 1987.
Lewin, David. “Klumpenhouwer networks and some isographies that involve them.” Spectrum 12, no. 1 (1990): 83-120.
Lewin, David. “A response to a response: On pcset relatedness.” PNM 18 (1979): 498-502.
Martino, Donald. “The source-set and its aggregate formations.” JMT 5, no. 2 (1961): 224-73.
Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern. 3rd ed. Los Angeles, California: University of California Press, 1972.

Rogers, John. “Some properties of non-duplicating rotational arrays.” PNM 7, no. 1 (1968): 80-102.
Starr, Daniel, and Robert D. Morris. “A general theory of combinatoriality and the aggregate.” PNM 16, no. 1 (1977): 3-35.
Wintle, Christopher. “Milton Babbitt’s Semi-Simple Variations.” PNM 14, no. 2 and 15:1 (1976): 111-54.