Robert Wannamaker – författare

One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch arranges, edits, and revises Tenney's hard-to-find writings into one indispensable collection. Selections focus on his fundamental concerns-"what the ear hears"-and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.

Parsing the works of the experimental music pioneerRobert Wannamaker's monumental two-volume study explores the influential music and ideas of American composer, theorist, writer, performer, and educator James Tenney. Delving into the whole of Tenney's far-ranging oeuvre, Wannamaker provides in-depth, aurally grounded analyses of works linked to the artist's revolutionary theories of musical form, timbre, and harmonic perception. Volume 1, Contexts and Paradigms, chronologically surveys Tenney's creative development and output. Wannamaker begins each section with biographical, aesthetic, and technical context that illuminates a distinct period in Tenney's career. From there, he analyzes a small number of pieces that illuminate the concerns, characteristics, and techniques that emerged in Tenney's music during that time. Wannamaker supplements the text with musical examples, graphs, and diagrams while also drawing on unpublished material and newly available primary sources to flesh out each work and the ideas that shaped it.A landmark in experimental music scholarship, The Music of James Tenney is a first-of-its-kind consideration of the experimental music titan and his work.

A work-by-work guide to the composer's groundbreaking musicRobert Wannamaker's monumental two-volume study explores the influential music and ideas of American composer, theorist, writer, performer, and educator James Tenney. Delving into the whole of Tenney's far-ranging oeuvre, Wannamaker offers close, aurally grounded analyses of works linked to the artist's revolutionary theories of musical form, timbre, and harmonic perception. Written as a reference work, Volume 2, A Handbook to the Pieces, presents detailed entries on Tenney's significant post-1959 experimental works (excepting pieces covered in volume 1). Wannamaker includes technical information, an analysis of intentions and goals, graphs and musical examples, historical and biographical context, and thoughts from Tenney and others on specific works. Throughout, he discusses the striking compositional ideas found in Tenney's music and, where appropriate, traces an idea's appearance from one piece to the next to reveal the evolution of the composer's art and thought.A landmark in experimental music scholarship, The Music of James Tenney is a first-of-its-kind consideration of the experimental music titan and his work.

One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch arranges, edits, and revises Tenney's hard-to-find writings into one indispensable collection. Selections focus on his fundamental concerns-"what the ear hears"-and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.

This volume collects, for the first time, essential interviews and aesthetic writings from throughout James Tenney's five-decade artistic career.The eminent American-Canadian composer James Tenney (1934–2006) made groundbreaking contributions to sampling culture, digital sound synthesis, algorithmic composition, minimalism, spectral music, music in non-standard tuning systems, contemporary theories of form and harmony, and the consolidation of an American experimental-music tradition. This book documents both his own work and his involvements with influential figures in mid-century American music, film, art, and technology. The writings are accompanied by photographs, artworks, compositional sketches, archival documents, and previously unpublished scores. Appendices supply, for the first time, exhaustive lists of Tenney’s compositions and published writings, as well as performance chronologies that capture his influential contributions to the experimental arts in New York City and elsewhere in the 1960s and 1970s.