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Wiki Comp-Pub Black.Cwk Carlton Gamer Compositions From my youth: Fifty pieces for solo piano, voice, chamber ensembles, or orchestra (1937-1947) Nocturne for cello and piano (1944, revised 1992) Wer nie sein brot mit Tränen ass (J. W. von Goethe, from Wilhelm Meister ) for soprano and baritone duet and piano (1945) “Go where glory waits thee” (Thomas Moore) for mezzo-soprano and piano (1945) “Reverie” (Langston Hughes) for mezzo-soprano or baritone and piano (1946) “Sea Charm” (Langston Hughes) for mezzo-soprano or baritone and piano (1946) Two songs from “A Shropshire Lad” (A. E. Housman) for tenor and piano: “Along the field as we came by” and “On your midnight pallet lying” (1946) “Drink in the beauty of this night” (Ream Lazaro) for baritone and piano (1946) Fragments for piano or harpsichord (1947, 1984) Barcarolle and Chaconne for piano (1947- 1949) Sonnet: “Oh, never say that I was false of heart” (William Shakespeare) for tenor and piano (1948, 1969) Two Songs to texts by Li Po for mezzo-soprano and flute: “On hearing the flute at Lo-Cheng one spring night” (1948, 1990) and “In the mountains” (1990) “After two years” (Richard Aldington) for tenor and piano (1949) Song: “A dream of death” (William Butler Yeats) for baritone or mezzo-soprano and piano (1949) String Quartet (1950, revised and re-entitled Between Heaven and Earth, 2012) Pastorale for flute, clarinet, and strings (1950-51) Fantasy for Orchestra (1951, revised and re-entitled Generation, 2012-13) Conversation for flute (or recorder) and piano (1952) Serenade for flute, violin, and clarinet (1952, revised 1964) Theme and Variations for Clarinet and Piano (1953) Fantasy for Flute, Clarinet, and Piano (1953) Aria da Capo (composition for dance with narrator) (text by Ilka Suarez and Carlton Gamer, after Edna St. Vincent Millay’s play) (1953, revised 1986) The Block Dwellers for piano (composition for dance) (1954) Dance for Three Couples--for Violin, Clarinet, and Piano (composition for dance) (1954) Two Things (Neo-Platonic Soliloquy) (Donald Babcock) (a cappella choir) (1957, revised 1988) • Three Haiku by Bashô (a cappella choir). The Colorado College Music Press (1958) “Rhyme from Grandma Goose” (Annamarie Ewing) for tenor and piano (1958) Three songs for soprano and piano: “Each more melodious note I hear” (H. D. Thoreau); “o sweet spontaneous earth” (e. e. cummings); and “Passing” (Lillian de la Torre, from Guillaume Apollinaire) (1958) Carol: “Lo, in the silent night” (Angelus Silesius) (two- voice a cappella) (1959) Duetude for flute and clarinet (1959, revised 1998). Perspectives of New Music, Vol. 49, No. 2; and the OPEN SPACE Magazine, Special Issue 14, Spring 2012 Sonata for Violin and Piano (1959-1960) Octet for String Quartet and Wind Quartet (1960) • Sonata Breve for piano (1961) Canonettes for keyboard, or clarinet (or viola) and cello (or bassoon) (1962, revised 1992 Piano Râga Music (for Milton Babbitt and Ravi Shankar) (1962, 1967,1970). Published in Perspectives of New Music, Vol. 12, No. 2, Spring- Summer, 1974; in American Society of University Composers Journal of Scores, Vol. 15, 1968; and by the Association for the Promotion of New Music. Laudate Dominum: Psalm 116, Vulgate (a cappella choir). The Colorado College Music Press (1963) Arkhê for orchestra (1968 / 1993) “War is the enemy” (Carlton Gamer) (rock refrain) (1968) Mid-century Love Letter (Phyllis McGinley) for soprano and piano (1969) There is a Spirit-- in memoriam A. J. Muste (James Nayler) (a cappella choir) (1970) Lieder for baritone voice, oboe, cello, and horn, to texts by Rainer Maria Rilke: Liebeslied: (voice, oboe, cello) (1971) 2. Herbsttag (voice, oboe, cello, horn) (1983) “Dear Friend” (Carlton Gamer) for soprano and piano (1972) Variation on a Thing by JKR for digital synthesis in 7-tone equal temperament (1974). In Carlton Gamer: “ET Setera: Some temperamental speculations,” in Music Theory: Special Topics, ed. Richmond Browne, Academic Press, 1981. Three Pieces From the Gardens of the West for piano: Of Time Past (1978) Our Second Music (1975) “Quietly, With Feeling” (after Mendelssohn) (1976), from ”Moments Musicaux for Roger Sessions,” Perspectives of New Music, Vol.16, No.2, Spring-Summer, 1978) Fanfare for the Common Tone (x3) for two trumpets (1976). Perspectives of New Music, Vol. 14, No.2 / Vol. 15, No.1, Spring-Summer / Fall-Winter, 1976. Mondi for piano (1983) “I’ll Remember April” (after Raye, DePaul, and Johnston) for piano (April, 1987) New Beginnings (1987) Part I: ORGANUM from Canto LXXXI (Ezra Pound) for digitally synthesized voice in 31-tone equal temperament (1976) Part II: New Beginnings for piano and percussion (1987 Cameo (for S. G.) for piano (1991) Gahu on “ J, K, R’” (for James K. Randall) for speaking chorus and African percussion ensemble (1991) Star in Clay (Katharine Lee Bates) for choir, brass, and timpani (1993) Fanovar for flute, oboe, clarinet, trumpet, trombone, violin and cello--or for digital synthesis in 7-tone equal temperament (1994). Excerpt and analysis in Carlton Gamer and Robin Wilson: “Microtones and projective planes” in Music and Mathematics from Pythagoras to Fractals, Oxford University Press, 2003. (See Publications.) For Elaine for piano (1999, 2004)) Choros for chamber chorus, string quartet, early instruments, piano, organ, and percussion, with incidental vocal solos and speaker: Part I: Bios (Carlton Gamer) Part II: Choros (James Nayler, Anaximander, Gospel of John, St. Augustine, Heloise, Dante, San Juan de la Cruz. Rainer Maria Rilke, and Anna Akhmatova) (1999) Quattro Voci (per Quattro Mani) (for Susan Grace and Alice Rybak) for two pianos (2009) Publications “The New Fact and the Creative Life” (essay), The Colorado Quarterly, University of Colorado, Boulder (1961). "Some Combinational Resources of Equal-Tempered Systems," Journal of Music Theory, Vol. 11, No. 1 (Spring, 1967), pp. 32-59. “Electronic music,” The Encyclopaedia Britannica (1968 edition). “Flawed words and stubborn sounds: a conversation with Elliott Carter,” (review essay), Perpectives of New Music, Vol. 11, No. 2 (Spring-Summer, 1973) “Notes on the structure of Piano Râga Music,” Perspectives of New Music, Vol. 12, No. 2 (Spring- Summer, 1974). "Fanfares for the common tone" (with Paul Lansky), Perspectives of New Music, Vol. 14-15, No. 1-2 (1976), pp. 228-35. “Sketch of a Foundation for Music Theory Today,” Symposium: Journal of the College Music Society, Vol. 17, No. 1 (Spring, 1977), pp. 153-156. "Et setera: some temperamental speculations," Music Theory: Special Topics, ed. Richmond Browne, Academic Press (1981), pp. 59-81. ISBN 0-12-138080-7. “Music Worlds,” Semiotic Investigations: Proceedings of a Mellon Faculty Seminar, The Colorado College Studies 18 (1982), pp. 83-98. “Busnois, Brahms, and the Syntax of Temporal Proportions” (essay), A Festschrift for Albert Seay, ed. Michael Grace, Colorado College, Colorado Springs, CO (1982), pp. 201-215. “Musical Block Designs” (with Robin J. Wilson), Ars Combinatoria, Vol. 16-A (December, 1983), pp. 217- 225. “Trapezoidal Numbers" (with David W. Roeder and John J. Watkins), Mathematics Magazine, Vol. 58, No. 2 (Mar., 1985), pp. 108-110. “Composers of the Nazi Era: Eight Portraits” (book review), Shofar: An Interdiscipinaary Journal of Jewish Studies, Vol. 20, No. 3 (Spring, 2002), pp. 123-125. "Microtones and Projective Planes," (with Robin J. Wilson), Music and Mathematics, ed. John Fauvel, Raymond Flood, Robin J. Wilson, Oxford University Press (2003). ISBN 0-19-851187-6. “Milton at the Princeton Seminars” in Milton Babbitt: A Composers ‘ Memorial; Scores and Texts in Memoriam, Perspectives of New Music Special Supplement to Vol. 49/2, and The Open Space Magazine Special Issue 14 (Spring, 2012), pp. 361- 364. Conference papers "Deep scales and difference sets in equal- tempered systems". American Society of University Composers. Proceedings, Vol. 2 (1967), pp. 113-122. "The role of the composer as theorist: Some introductory remarks," American Society of University Composers. Proceedings, Vol. 7 (1972), pp. 12-14. “Displacement as matrix and matter of twentieth century arts,” in Frank Brinkhaus and Sascha Talmor, ed’s.: Memory, History and Critique. European Identity at the Millennium. Proceedings of the 6th International Society for the Study of European Ideas (ISSEI) Conference at the University for Humanist Studies, Utrecht, The Netherlands, MIT Press (August. 1996)..
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