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ZKM GLOBALE tion with the 4DSOUND spatial non-linear distortion effects pedals. sound group, showcased immersive The conference organizers awarded GLOBALE, a festival on contem- sonic works for 16 omnidirectional the best paper prize to Roman Geb- porary musical instruments and loudspeaker columns, composed by hardt, Matthew Davies, and Bernhard interfaces, took place 5–7 February 15 artists throughout the three days Seeber for their paper “Harmonic 2016 in Karlsruhe, Germany, hosted of the festival. Mixing Based on Roughness and by Zentrum fur¨ Kunst und Medien- Web: zkm.de/event/2016/02 Pitch Commonality.” The poster ses- technologie Karlsruhe (ZKM). The /globale-performing-sound-playing sions included work on estimating festival included five concerts and -technology the amount of rhythmic swing in a three sessions of research presen- musical recording, a new method for tations, whose stated goal was the determining the optimal pitch shift critical examination of contempo- DAFx 2015 for harmonic mixing of two audio rary musical instruments and the recordings, and GPU-based acoustic simulation, among others. reciprocal influence of music and The 18th International Conference on Web: www.ntnu.edu/web/dafx15 technology. GLOBALE was part of Digital Audio Effects (DAFx) was held /dafx15 the ongoing Design, Development, 30 November–3 December 2015 in and Dissemination of New Musical Trondheim, Norway, encompassing Instruments (3DMIN) project, a joint four days of research presentations, research initiative between Techni- tutorials, and a concert. DAFx 2015 MusicAcoustica-Beijing 2015 cal University of Berlin and Berlin was co-hosted by the Department of University of the Arts in Germany. Electronics and Telecommunications The 22nd annual MusicAcoustica- The event’s research symposium and the Department of Music’s Music Beijing electroacoustic music festival covered improvisational strategies Technology group at the Norwegian was held 26–31 October 2015. Hosted appropriate to the digital performer, University of Science and Technology, by the Central Conservatory of Mu- the use of the human body as a and included keynote presentations sic in Beijing, China, the festival musical instrument, using inter- by Marije Baalman, Kurt Werner and consisted of an extensive series of ference of WiFi signals to detect Julius Smith, and Franz Zotter. The talks related to contemporary and bodily presence and movement, and first day of the conference included historical electroacoustic music and other topics. The concert series in- tutorials by Peter Svensson on sound concerts of both new and historical cluded a range of works for new field modeling for virtual acoustics, works. Its theme was “Akousma,” instrument designs and practices. by Øyvind Brandtsegg and Trond focusing on the history and con- Artist and instrument-builder Peter Engum on cross-adaptive audio effects cepts of acousmatic music and its Blasser performed several pieces for and their real-time use for creative relationship to electroacoustic and a drum machine and an organ, both purposes, and by Xavier Serra on the computer music as a whole. One of his own creation; and Dominik Audio Commons Initiative, an effort concert focused on recent works Hildebrand Marques Lopes, Amelie to promote and facilitate the use of by composer Daniel Teruggi; the Hinrichsen, and Till Bovermann’s freely distributable audio content in composer also gave a series of talks PushPull/WaveSetter was performed the creative industries. on the history of the Institut Na- using the composers’ unique Push- The conference’s oral presen- tional de l’Audiovisuel Groupe de Pull accordion-like instrument. In tations were organized by subject Recherches Musicales (INA-GRM), Myogram Atau Tanaka’s ,foursensors matter, including virtual analog on composing for electronics and affixed to the composer’s forearms synthesis, sound synthesis, audio instruments, and on acousmatic mu- translated muscle and nerve activity analysis, physical modeling, spatial sic. Another concert presented works into sound in real time. One concert audio, audio coding, speech appli- by a variety of composers associ- ˆ featured live-coding ensemble Benoıt cations, and audio effects. Among ated with GRM, including Arc, pour and the Mandelbrots, who developed, the research efforts presented were a Gerard´ Grisey (1999) by Franc¸ois executed, and evolved the software new model of nonlinearities in bowed Bayle, A battuta (2015) by Christian for their full-length audiovisual per- string synthesis, a harmonizer effect Eloy, and Dedans – dehors (1977) by formance in real time. GLOBALE’s using short-time time-reversal, a Bernard Parmegiani. Other concerts final concert, organized in conjunc- study of distance perception of multi- featured works for traditional Chi- channel auralizations in reverberant nese instruments and electronics, doi:10.1162/COMJ e 00365 spaces, and a model for identifying works by composers from the Groupe

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_e_00365 by guest on 28 September 2021 de Recherche en Acoustique et en of imitation and autonomy as a basis certs, talks, and technology demon- Musique Electronique (GRAME), for musical agency, and 3-D printed strations. The event featured keynote and works by European and North microtonal . The conference presentations by the theremin player American composers. The lecture also held a demonstration of the UTS and technologist Pamelia Stickney series contained a number of reflec- Data Arena, a multimedia facility for and scholar Elizabeth Hinkle-Turner. tive talks by composers discussing interactive data visualization con- The symposium’s concert program- their compositional practice and his- sisting of six 3-D video projectors ming included W[O]RK by duo Love torical work, including Chengbi An, arranged in a 360-degree panorama. Gasoline (Carmina Escobar and Grace Phill Niblock, and Elzbieta˙ Sikora. ACMC 2015’s concert program- Hansmeyer), in which simple actions Other talks examined issues such as ming featured a number of computer- by performers on stage were trans- computer characterization of gesture based and electroacoustic works lated by sensors and a camera into in improvised music, live network across four concerts. Roger Alsop and light, image, and sound, and Judy music performance, and the cine- Brigid Burke’s Flow used a calculation Dunaway’s Hommage a` Kenneth matics of musical performance. Also of the Reynolds number to generate Noland, a work for mechanical trans- part of the festival was the Twelfth a dynamic score for a perfor- ducers and giant balloon whose drone MusicAcoustica-Beijing Composition mance based on fluid mechanics, sounds were further transformed to Competition, whose finalists were and Cat Hope’s Dynamic Architec- synthetic sound and visuals by an presented in concerts for each of the ture 1 was composed for a unique interactive computer program. The competition’s four categories (electro- integration of and a trans- lectures given at the symposium acoustic music, electroacoustic with ducer, in which electronic signals presented such subjects as Techne, acoustic instrumentation and/or were sounded through the double an educational organization offer- voice, multimedia work, and MIDI bass by the transducer. In Andrew ing a set of workshops for digital compositions). Brown’s Ripples, a software system arts, Harmonibots, a set of inflatable Web: musicacoustica.cn/en2015 designed by the composer generated mechatronic harmonica instruments, chords and arpeggios in response to and improvisation with digitally an analysis of the sound produced by augmented acoustic instruments. ACMC 2015 a live performer, and Colin Black’s Web: music.arts.uci.edu/icit A Disembodied Voice in [5.1 Sur- /symposium16 The 2015 Australasian Computer Mu- round Sound Radio] Space arranged sic Conference (ACMC) took place spoken text, music, and sound ef- 18–21 November 2015 at the Univer- fects in surround-sound to create a Marvin Minsky (1927–2016) sity of Technology Sydney (UTS) in sonic world based on both reality Sydney, Australia. The conference, and the fantastical. The conference Marvin Minsky (see Figure 1), a held annually since 1993, comprised a concluded with a concert of computer prominent pioneer in artificial intelli- variety of oral presentations, demon- music works broadcasted live over gence research, died 24 January 2016 strations, artist talks, and musical Australian national radio. at the age of 88. Minsky was born in performances related to computer Web: acmc2015.net New York City on 9 August 1927. music. ACMC 2015’s theme was After serving in the United States “MAKE!,” focusing on aspects of Navy from 1944–1945, he studied creation in computer music as well ICIT Symposium 2016 mathematics at as the influence of identity, gender, and , receiving and institutions on the culture and The 2016 University of California, his doctorate from the latter in 1954. practice of creative technology. The Irvine, Integrated Composition, Im- Minsky joined the faculty of the keynote presenter was musician, provisation, and Technology (ICIT) Massachusetts Institute of Technol- composer, and performance artist Cat Symposium was held 5–6 February ogy (MIT) in 1958, and in 1959 with Hope. Topics for oral presentations 2016 in Irvine, California. With a John McCarthy he cofounded the Ar- included a study of eye movement theme of “New Expressions: Women tificial Intelligence Project (later the of musicians using musical score in Music Technology,” the sympo- AI Lab) at MIT. While at the AI Lab, software on tablet computers, a sium focused on the work of contem- he developed foundational research touchscreen controller for robotic in- porary female artists in the field of in robotics, neural networks, and strument ensemble, a contemplation music technology, including two con- digital representation of knowledge,

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_e_00365 by guest on 28 September 2021 Figure 1. Marvin Minsky. (Photo: by Figure 2. . (Photo: Brian Jordan, licensed under CC BY “Pierre Boulez, Franse dirigent” by 3.0, https://creativecommons.org Joost Evers/Anefo, copyright /licenses/by/3.0/.) National Archives of the Netherlands, licensed under CC BY-SA 3.0, http://creativecommons .org/licenses/by-sa/3.0.)

could be simulated by a machine. More than a proficient researcher and thinker, Minsky was a noted educator, advising and teaching a number of students who became influential in their own right, including Ivan Sutherland, Gerald Sussman, and Ray Kurzweil. Like Pierre Boulez (see below), Minsky was on Computer Music Journal’s editorial advisory board until his death.

Sources

Fredkin, E., and M. Minsky. 1971. with influential publications such “Digital Music Synthesizer.” U.S. as Perceptrons (1969), with Seymour Patent 3,610,801 filed16 June 1970, Papert, and A Framework for Repre- and issued 5 October 1971. senting Knowledge (1974). In 1969, Minsky, M. 2016. “Marvin Minsky’s he received the Association for Com- Home Page.” Available online polemicist, pianist, and one-time puting Machinery Turing Award, at web.media.mit.edu/∼minsky. enfant terrible who believed that considered the highest prize in the Accessed 16 February 2016. computer music was the future of field of computer science. A capable Rifkin, G. 2016. “Marvin Minsky, music, died at home at the age of 90 pianist, Minsky made several forays Pioneer in Artificial Intelligence, on 5 January 2016, in Baden-Baden, into the emerging field of computer Dies at 88.” New York Times, Germany. Born in Montbrison, Loire, music—for instance, Muse, a synthe- January 25. France on 26 March 1925, Boulez sizer and digital musical sequence Roads, C., and M. Minsky. 1980. would go on to an international career composer, and EUTERPE, an inter- “Interview with Marvin Minsky.” at the center of contemporary music. active digital instrument and music Computer Music Journal 4(3):25– Abandoning mathematics to the programming system. In the 1980s, 39. displeasure of his father, Boulez’s the AI Lab also became noted for early Smoliar, S. 1967. “EUTERPE: A Com- formal studies in music began as a developments in the philosophy of puter Language for the Expression student at the Paris Conservatoire software freedom and the open-source of Musical Ideas.” Artificial In- in 1944, studying with composer– software movement. Minsky joined telligence Memo 129. Cambridge, organist , who intro- the nascent MIT Media Lab in 1989, Massachusetts: Massachusetts duced Boulez to Arnold Schoenberg’s remaining on the faculty of MIT until Institute of Technology, Project music and its twelve-tone technique; his death. MAC. Boulez would continue studying se- Minsky was outspoken on the rialism with Rene´ Leibowitz from potential of computer programs to 1945–1946. completely simulate the functions Pierre Boulez (1925–2016) His first twelve-tone works were of the human brain, arguing in The his Premiere` sonate pour and Society of the Mind (1988) that [Editor’s note: We thank David Nel- the Sonatine pour fluteˆ et piano, both “intelligence is not the product son Tomasacci of Columbus State of 1946. These were followed by the of any singular mechanism, but Community College for writing this repeatedly revised comes from the managed interaction obituary and tribute. The author of 1947, initially written for soprano, of a diverse variety of resourceful would like to further thank Rocco Di choir, and , and setting the agents” (Minsky 2016). This work Pietro for his guidance and contribu- poetry of Rene´ Char, whose works and later The Emotion Machine tions to this obituary. See also the Boulez would continue to set (as in (2006) outlined a set of theories Letters to the Editor in this issue.] composed from whereby the human mind might be Pierre Boulez (see Figure 2), the 1946–1947 and revised in 1951–1952, broken down into components that composer, conductor, new music and later, Le marteau sans maıtreˆ ).

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_e_00365 by guest on 28 September 2021 Throughout the mid-to-late 1940s, In these early years, Boulez viva- for chamber orchestra, two flutes, Messiaen continued his efforts to ciously pontificated upon the merits solo MIDI flute, and electronics. extend Schoenberg’s into of total serialism, as he did in his In 1951, Boulez composed two a compositional technique for the most infamous essay, “Schoenberg works of musique concrete` , Etude´ control of rhythm. Boulez and others is Dead,” of 1951. Therein, Boulez sur un son and Etude´ sur sept sons, would go further still in the search heavily criticizes Schoenberg and his as part of Pierre Schaeffer’s Groupe for a total serial technique in which twelve-tone music for failing to live de Recherches de Musique Concrete.` many, if not all, musical parameters up to the potential inherent in this Like total serialism, however, Boulez were carefully controlled. Boulez’s new system of organization, a system found the necessities of fixed elec- first steps in this direction can be Boulez himself soon would reject tronic (and particularly tape) com- found in his demanding Deuxieme` for its expressive limitations. Total positions limiting, and abandoned sonate pour piano (1947–1948), which serialism quickly proved just another electronic music until the 1970s, was premiered in 1950, and then experiment. when advancements allowed for performed in the USA by David Tudor By 1952, Boulez began writing real-time electronic manipulation. later that year. Tudor was introduced stylistically freer compositions, such In 1970, French president Georges to the work by , an early as his Le marteau sans maıtreˆ (1953– Pompidou agreed to Boulez’s sug- champion of the work and close friend 1955), written for a chamber ensem- gestion to create an institution for of Boulez. , written ble of six instruments and a solo musical research, directed by Boulez. from 1950–1951 and scored for 18 contralto singing fragmentary texts of The result, which opened its doors in instruments, was Boulez’s first large- Rene´ Char. This work has been hailed 1977, was the Institut de Recherche scale work in his new integrally serial as the first post-World War II master- et Coordination Acoustique/Musique idiom. It was performed and recorded piece, yet Boulez, again prompted by (IRCAM), a center for computer mu- twice: first at the divisive premiere Maderna, rewrote the first movement sic research, acoustic research, and in 1951 by the Sinfonieorchester when it was pointed out to him that avant-garde and experimental modern des Sudwestrundfunks¨ [Southwest the music could not be heard, and music. German Radio Symphony Orchestra; risked being merely paper music (Di Many of the prolific composers of SWR Symphony Orchestra, hereafter] Pietro 2016). the mid-20th century would find their under Hans Rosbaud, and second a With his (1957–1962, way to IRCAM to join in this early performance and recording of the first and rev. 1980) for solo soprano and or- exploration into computer, electro- movement only by Radiotelevisione chestra, setting Stephane´ Mallarme,´ acoustic, and avant-garde music. The Italiana under . The Boulez ventured into experimenting following were all direct products of work was never published, as Boulez with controlled chance and open- IRCAM’s electroacoustic and avant- felt that the piece suffered under the form compositions. His constantly garde art music research: La voix des weight of its theoretic construction, revised and uncompleted Troisieme` voies (1977), Chemins ex V (1980), and and ultimately he withdrew the sonate pour piano (1955–1957, rev. Orpheo II (1984) by Luciano Berio, work. 1963–) continued this exploration, as an early department head at IRCAM; I of 1952 represents did his monumental Rituel in memo- Frederic Rzewski’s Instrumental his final composition written in a riam Bruno Maderna (1974–1975) Studies (1977); John Chowning’s Stria strict, integrally serial idiom. The for spatially distributed chamber en- for tape of 1977, one of the first works work, scored for two , adapted semble in eight groups, and based commissioned by IRCAM, which the “modes” of Messiaen’s Mode de upon the same heptatonic row as utilized the FM synthesis Chowning valeurs et d’intensites´ (the second his ...explosante-fixe ...of 1971– had pioneered; Cage’s Roaratorio of movement of his Quatre etudes´ de 1972. Written as a memorial for Igor 1980, a musique concrete` collage of rythme of 1949–1950) into an ordered Stravinsky, perhaps no other work of texts and sounds relating to James series of pitch, rhythm, dynamics, Boulez underwent such constant and Joyce’s Finnegan’s Wake;Jonathan and “modes of attack.” Maderna dramatic revision as ...explosante- Harvey’s Mortuos Plango, Vivos Voco warned Boulez of the inherent con- fixe ..., which originated as a one- (1980) for tape; Gerard´ Grisey’s Les tradictions of music so complex that page work for open instrumentation, chants de l’amour, for voices and it was virtually unplayable and cer- and evolved through various phases to tape (1982–1984); Frank Zappa’s al- tainly incomprehensible, resulting in the version premiered by the Ensem- bum The Perfect Stranger (1984), absurdity (Di Pietro 2016). ble InterContemporain (EIC) in 1993 which included three tracks of the

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_e_00365 by guest on 28 September 2021 EIC (the IRCAM resident ensemble Yet once again, even electro- ciety and series dedicated in greatest Boulez founded explicitly for the acoustic music served as another ex- part to the performance of contem- performance of contemporary music), periment from which Boulez moved porary music. Boulez continued as directed by Boulez and recorded at on. Although electronics would con- director of the until IRCAM; ’s tinue to play a role in Boulez’s final 1967. In 1958, Boulez was appointed 1985 Kathinkas Gesang als Luzifers works, as in the and live elec- the conductor of the SWR Symphony Requiem for flute and tape; Terry tronics piece Anthemes` II (composed Orchestra in Baden-Baden, Germany. Riley’s 1986 string quartet Salome at IRCAM in 1997, as a reworking He made his Bayreuth premiere in Dances for Peace; Karlheinz Essl’s of the earlier solo violin Anthemes` 1966, Wagner’s Parsi- Entsagung (1993) for ensemble and of 1991) he seemed to translate his fal, and would go on to be musical electronics; Tristan Murail’s chamber research of computer music into the director and conductor for Patrice ensemble L’esprit des dunes (1993– glittering orchestrations and expan- Chereau’s´ divisive and anachronistic 1994); the electronic version of Iannis sions of some of his earlier short 1976 centenary production of the Xenakis’s Psappha in 1996; and Roger piano pieces. Boulez’s Notations of Ring cycle. Reynolds’s The Angel of Death (2001) 1978 (rev. 1984 and 1997) orchestrates The 1970s would see the continu- for piano, chamber orchestra, and and reworks his early Douze nota- ation of the sharp decline in Boulez’s computer-processed sounds. tions pour piano of 1945, and his Sur compositional output as increasingly IRCAM furthermore contributed of 1996 (rev. 1998) for three his time was spent conducting and to the development of many of the pianos, three harps, and three per- traveling across the Atlantic. From compositional tools and software cussionists expands and orchestrates 1967–1972 he was principal guest programs crucial to contemporary material from his earlier solo piano conductor of the Cleveland Orches- spectral and electroacoustic music. Incises of 1994. With his return to tra, and in 1971 he was appointed Perhaps most notably, in the 1980s the orchestra, Di Pietro has argued chief conductor of the BBC Sym- Miller Puckette developed Max, a that Boulez was “in some ways still phony Orchestra, remaining there graphical programming language writing computer music, but absent until 1975. In 1971 Boulez succeeded for music and multimedia process- the programming.” Leonard Bernstein as Music Direc- ing, and in 1997, David Zicarelli’s By the time of the interviews in Di- tor of the New York Philharmonic. software extension Max Signal Pro- alogues with Boulez (Di Pietro 2001), Boulez’s tenure with the New York cessing (MSP) provided composers Boulez was a world-fetedˆ composer Philharmonic lasted seven years, and with real-time audio synthesis and who had put many of the contro- was somewhat contentious. Ever signal-processing capability. IRCAM’s versial issues behind him. His 70th the experimenter, Boulez at times Music Representation Group further- and 80th birthdays in 1995 and 2005, struggled to balance the desire to more created OpenMusic, a popu- respectively, were celebrated the program demanding, carefully pre- lar program for computer-assisted world over with numerous festivals pared modern music and new concert composition. of Boulez’s music, and with Boulez formats with the more traditional Although IRCAM and its re- conducting many of the worlds lead- repertoire and conventions expected searchers have since been responsible ing . Boulez’s conducting by such prestigious orchestras and for numerous critical developments had progressed from a somewhat their audiences. Boulez’s hands, ab- in electroacoustic music, in its ear- rigid approach when young to a mas- sent the traditional baton of most liest years IRCAM, and Boulez par- terful approach in old age, which orchestral conductors, would go on to ticularly, were criticized for the he “learned by simply doing it” (Di direct many orchestras and ensembles controversial expenditure of millions Pietro 2016). of note throughout the rest of the 20th of francs on a research center that Boulez’s early career as a concert and early 21st centuries, including the had not yet produced any earth- programmer, musical director, and Berlin and Vienna Philharmonic, and shattering works. Boulez’s response conductor owes much to the aus- the Chicago Symphony Orchestra, to was Repons´ , for six percussionists, pices of actors Jean-Louis Barrault which he was appointed conductor chamber ensemble, fixed media, and and Madeleine Renaud. It was their emeritus in 2006. Over his career, live processing (1981–1984), which Compagnie Renaud-Barrault to which Boulez’s discography as a conductor quieted the skeptics. It was at IR- Boulez was appointed musical direc- earned him a total of 26 Grammy CAM, too, that Boulez prepared the tor in 1946, and it was their financial Awards. 1993 version of ...explosante-fixe ..., support that in 1954 funded Boulez’s Boulez’s biography is ultimately for the EIC. Le Domaine Musical, a concert so- the story of his relationship with

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_e_00365 by guest on 28 September 2021 constant experimentation. Whereas Sources of the American Musicological in the realm of scientific research, all Society 43(3):426–456. experimentation is subject to a well- Ashby, A. 2001. “Schoenberg, Boulez, Griffiths, P. 1986. “Boulez, Pierre.” defined procedure of controls designed and Twelve-Tone Composition In The Thames and Hudson Ency- to rein in assumptions and temper the as ‘Ideal Type.’” Journal of the clopedia of 20th-Century Music. interpretation of resulting data, for American Musicological Society London: Thames and Hudson, pp. the composer–experimenter no such 54(3):585–625. 37–38. rigorous scientific method is required. Assayag, G., et al. 1997. “An Object Griffiths, P. 1986. “Total Serialism.” For Boulez, the ultimate evaluative Oriented Visual Environment In The Thames and Hudson Ency- criterion for his experimentation was for Musical Composition.” In clopedia of 20th-Century Music. his often critical and tempestuous Proceedings of the International London: Thames and Hudson, pp. artistic sensibility. He was as such Computer Music Conference, 183–184. fairly liberal in his rejection and dis- pp. 364–367. Griffiths, P. 2016. “Pierre Boulez, missal of all failed experimentations, Boulez, P. 1968. “Schoenberg Is Composer and Conductor Who and this principle of denouncing Dead.” In H. Weinstock, trans. Pushed Modernism’s Boundaries, the failed applied equally to multi- Notes of an Apprenticeship.New Dies at 90.” The New York Times, ple facets of his compositional and York: Knopf, pp. 268–275. (Chapter January 6. personal life: to his own oeuvre, in originally published 1951.) Harvey, J. 1981. “Mortuos Plango, the form of constant revision and Boulez, P. 1964. “Alea.” P. Jacobs and Vivos Voco: A Realization at reworking of past works, often over D. Noakes, trans. Perspectives of IRCAM.” Computer Music Journal the span of decades; to the ideological New Music 3(1):42–53. 5(4):22–24. withdrawal, retraction, and aban- Boulez, P. 1986. Orientations: Col- Michelson, A. 1980. “Bayreuth: donment of works he deemed failed lected Writings. J.-J. Nattiez ed., The Centennial ‘Ring.’” October experiments throughout the vari- M. Cooper trans. Cambridge, 14:65–70. ous stages of his stylistic evolution; Massachusetts: Harvard University Nichols, R. 2016. “Pierre Boulez to his many fallings-out with com- Press. Obituary: French Composer and posers and his teachers of the past, Boulez, P., and J. Cage. 1993. The Conductor Whose Influence Trans- including Schoenberg, his teachers Boulez-Cage Correspondence,eds. formed the Musical World.” The Leibowitz and Messiaen, Stravinsky, J.-J. Nattiez et al., trans. R. Samuels. Guardian, January 6. and even Cage. Schoenberg wrote in Cambridge, UK: Cambridge Uni- Ponsonby, R. 2008. “The Art of the 1941 that every innovation “destroys versity Press. Conductor: Pierre Boulez in Con- while it produces” (Schoenberg 1975). Chowning, J. 1973. "The Synthesis of versation.” Tempo 62(243):2–15. In the wake of Boulez’s modernist Complex Audio Spectra by Means Rich, A. 1995. “John Cage.” In warpath lay the egos and legacies of Frequency Modulation.” Journal American Pioneers: Ives to Cage of composers, compositional styles of the Audio Engineering Society and Beyond. London: Phaidon and ideals, and friendships, but we 2:526–534. Press, pp. 175–176. can perhaps forgive this one-time Craft, R. 1982. “Stravinsky: Letters to Ross, A. 2016. “The Magus: Pierre enfant terrible because such imper- Pierre Boulez.” The Musical Times Boulez’s Fiery Career.” The New tinence and tempestuousness is a 123(1672):396–399, 401–402. Yorker, January 25. characteristic of youth, because of Di Pietro, R. 2001. Dialogues with Sabor, R. 1997. Richard Wagner: Der his moral fortitude in advocating for Boulez. Lanham, Maryland: Scare- Ring des Nibelungen.NewYork: the progress of music, because of crow Press. Phaidon Press, pp. 188–190. his being the most heavily critical Di Pietro, R. 2016. Personal Com- Schoenberg, A. 1975. “Composition of his own works, and, lastly, be- munications with the author. with Twelve Tones (I).” In L. Stein, cause of the legacy of groundbreaking January–February 2016. ed., L. Black, trans. Style and works, institutions, and compo- Edwards, A. 1989. “Unpublished Idea: Selected Writings.Berkeley: sitional approaches he bequeaths Bouleziana at the Paul Sacher University of California Press, to a contemporary era desperately Foundation.” Tempo 169:4–15. p. 217. (Reissued in 2010.) seeking to find the next direction Gable, D. 1990. “Boulez’s Two Cul- Whittal, A. 2005. “Boulez at 80: The music could, if not even should, tures: The Post-War European Path from the New Music.” Tempo take. Synthesis and Tradition.” Journal 59(233):3–15.

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