|
Selected Publications
These are listed in two ways: in reverse chronological
order, and by subject. Forthcoming publications and
recent conference papers are listed
separately.
Chronological
| 2001 |
Contre une théorie de la (nouvelle)
complexité musicale, in ‘Musique Contemporaine: Perspectives théoriques et
philosophiques’, (ed. I. Deliège and M. Paddison), Mardaga, Liège, 137-146
‘J’ouvre et referme’?, ibid., 179-190
Five Proposals, in ‘Musicae Scientiae: Discussion Forum 2’, 151-155 |
| 2000 |
Stockhausen’s Secret Theater: Unfinished
Projects from the Sixties and Early Seventies, Perspectives of New Music Vol. 36 no.2,
91-106
Von der "Sternenmusik" zur Musik des Weltraums, Neue Zeitschrift für
Musik 6/2000, 38-43
New Grove 2 entries: Don Banks, Gerard Brophy, Chris Dench, James Dillon, Brian
Ferneyhough, Riccardo Formosa, Liza Lim, Benedict Mason, Robert HP Platz, Horatiu
Radulescu, Karlheinz Stockhausen |
| 1999 |
György Ligeti, Phaidon Press, London,
238pp.
Zwischen Spekulation und Wirklichkeit: Stockhausen im Studio, in ‘Internationales
Stockhausen-Symposium 1998 Tagungsbericht’, Pfau, Saarbrücken, 134-147
John Cage gegen seine Aneigner verteidigt (see below, 1993) |
| 1998 |
Nachdenken über den Tod:
Richard Barretts ‘Vanity’, Musik und Aesthetik, Jhrg.2 Heft 5, 44-61
Immer Weiter: >Formale Polyphonie< und Robert HP Platz’s Donaueschinger
Zyklus, Musik und Aesthetik, Jhrg. 2 Heft 6, 61-76.
Mondrian, Fibonacci ... und Stockhausen, Neue Zeitschrift für Musik 4/1998,
31-35 |
| 1997 |
Höchst sperrig - Michael Smetanin,
MusikTexte 71, 48-51
Ein Puzzle von Individualitäten, Neue Zeitschrift für Musik 6/1997, 37-39 |
| 1995 |
Ein Lebenslauf (een leven in beweging) -
Ontwikkelingen in Stockhausens musikale idioom, in 'Mens, muziek en kosmos -
Stockhausen-retrospectief', Amsterdam, 46-55
Veertig jaar vernieuwing in de pianomuziek - De Klavierstücke I - XV, in 'Mens,
muziek en kosmos - Stockhausen-retrospectief', Amsterdam, 56-65
Beyond the Crisis of Material: Chris Dench's 'Funk', Contemporary Music
Review 13/1, London, 85-115
Brian Ferneyhough's 'Superscriptio': a Conversation and an Analysis, Contemporary
Music Review 13/1, London, 3-17 [English reprint of A propos de 'Superscriptio':
entretien avec Brian Ferneyhough; - Superscriptio pour flute piccolo solo: analyse,
Entretemps No.3, Paris 1987, 89-106] |
| 1994 |
Stockhausen - die beiden ersten Jahrzehnte:
prefatory essay for the Stockhausen-Symposium, Inventionen `94 Festival,
Berlin. Festival catalogue, 2-10
"Prima le parole": on the sketches for Brian Ferneyhough's 'Carceri
d'Invenzione I-III', Perspectives of New Music, 32/1, 154-175 |
| 1993 |
John Cage Defended Against His Appropriators,
Sydney Journal of Literature and Aesthetics, No.3, Sydney, 96-107 [German version, as John
Cage gegen seine Aneigner verteidigt, in ‘Mythos Cage’ (ed. C.-S. Mahnkopf),
Wolke Verlag, Hofheim, 179-191]
On Complexity, Perspectives of New Music 31/1, 42-57 [first printed as Mehr
Überzeugung als Theorie, MusikTexte Vol.35, Cologne 1990, 6-12]
JEUX pour piano Midi et ordinateur en temps réel, in Denis Cohen,
Compositeurs d'aujourd'hui, Les Cahiers de l'IRCAM, Paris, 63-88 |
| 1992 |
Last Sketches of Eternity: The First Versions
of Stockhausen's Klavierstück VI, Musicology Australia XIV, 2-24
Mozart/Mozkitsch, Sydney Journal of Literature and Aesthetics, No.2, Sydney, 7-18 |
| 1991 |
[Chris Dench's] Sulle Scale della Fenice,
Perspectives of New Music 29/2, 72-92.
Brian Ferneyhough's Etudes Transcendantales: A Composer's Diary (Part 1), Eonta,
London, 55-89 |
| 1990 |
Brian Ferneyhough's Lemma-Icon-Epigram,
Perspectives of New Music 28/2, Washington, 52-101 [English reprint of Lemme-Icône-Epigramme,
Contrechamps 8, Geneva 1988, 86-127]
[György Ligeti:] L'illusion de la surface, Contrechamps 12-13, Geneva,.61-97 |
| 1988 |
Four Facets of the New Complexity, Contact
No.32, London, 4-50 |
| 1987 |
Stockhausen and the Kontarskys: A Vision, an
Interval and a Mantra, The Music Review Vol.47 no,3, Cambridge, 194-99 |
| 1986 |
The Pit and the Pendulum: some reflections on
`new music', musicology and current performance practice, Musicology Australia, Vol.
IX, Canberra, 2-11 |
| 1983 |
Stockhausen's Other Piano Pieces, The
Musical Times, Vol.cxxiv, London, 348-52 |
| 1981 |
Stockhausen's Electronic Works: Sketches and
Work-Sheets from 1952-1967, Vol.10, Lisse, 149-97 |
| 1979 |
Stockhausen and the Sine-Wave: The Story of an
Ambiguous Relationship, The Musical Quarterly, Vol.LXV, No.3, New York, 379-91
Stockhausen's `Klavierstück VIII', Miscellanaea Musicologica, Vol.10, Adelaide,
pp.93-130 (Reprint: Contact No.28, London, 4-19 (1984)) |
| 1976 |
Stockhausen's 'Konkrete Etüde', The Music
Review Vol.37 No.4, 295-300
"O Alter Duft": Stockhausen and the Return to Melody, Studies in Music
10, Nedlands, W.A., 79-97 |
| 1975 |
Karlheinz Stockhausen: Da Kreuzspiel a Trans,
Atti dal terzo e quarto seminario di studi e ricerche sul linguaggio musicale, Padua,
58-86 |
| 1974 |
Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez,
Perspectives of New Music 13/1, New York, 141-69 |
| 1970 |
Musical Notation, Collage 9, Palermo,
93-98 |
Subject index
- Brian Ferneyhough
- György Ligeti
- Karlheinz Stockhausen
- Australian Music
- 'Complexity'
- Younger Composers
- Miscellaneous
Brian
Ferneyhough |
Brian Ferneyhough's Lemma-Icon-Epigram,
Perspectives of New Music 28/2, Washington, 52-101 (1990) [English reprint of Lemme-Icône-Epigramme,
Contrechamps 8, Geneva 1988, 86-127]
Brian Ferneyhough's Etudes Transcendantales: A Composer's Diary (Part 1), Eonta,
London, 55-89
"Prima le parole": on the sketches for Brian Ferneyhough's 'Carceri
d'Invenzione I-III', Perspectives of New Music, 32/1, 154-175 (1994)
Brian Ferneyhough's 'Superscriptio': a Conversation and an Analysis, Contemporary
Music Review 13/1, London, 3-17 (1995) [English reprint of A propos de 'Superscriptio':
entretien avec Brian Ferneyhough; - Superscriptio pour flute piccolo solo: analyse,
Entretemps No.3, Paris 1987, 89-106]
Brian Ferneyhough: Collected Writings (ed. James Boros and Richard Toop),
Contemporary Music Books, London, 1996 (revised reprint 1998)
New Grove 2 entry (2000)
‘J’ouvre et referme’?, in ‘Musique Contemporaine: Perspectives
théoriques et philosophiques’, (ed. I. Deliège and M. Paddison), Mardaga, Liège,
179-90 (2001) |
| György Ligeti |
| György Ligeti, Phaidon Press, London (1999) |
| L'illusion de la surface, Contrechamps 12-13,
Geneva, 61-97 (1990) |
| Karlheinz Stockhausen |
Karlheinz Stockhausen: Da Kreuzspiel a Trans, Atti dal
terzo e quarto seminario di studi e ricerche sul linguaggio musicale, Padua, 58-86
(1975)
Stockhausen's 'Konkrete Etüde', The Music Review Vol.37 No.4, 295-300 (1976)
"O Alter Duft": Stockhausen and the Return to Melody, Studies in Music
10, Nedlands, W.A., 79-97 (1976)
Stockhausen and the Sine-Wave: The Story of an Ambiguous Relationship, The Musical
Quarterly, Vol.LXV, No.3, New York, 379-91 (1979)
Stockhausen's `Klavierstück VIII', Miscellanaea Musicologica, Vol.10, Adelaide,
93-130 (1979) (Reprint: Contact No.28, London, 4-19 (1984)
Stockhausen's Electronic Works: Sketches and Work-Sheets from 1952-1967, Vol.10,
Lisse, 149-97 (1981)
Stockhausen's Other Piano Pieces, The Musical Times, Vol.cxxiv, London, 348-52
(1983)
Stockhausen and the Kontarskys: A Vision, an Interval and a Mantra, The Music
Review Vol.47 No.3, Cambridge, 194-99 (1987)
Last Sketches of Eternity: The First Versions of Stockhausen's Klavierstück VI, Musicology
Australia XIV, 2-24 (1992)
Stockhausen - die beiden ersten Jahrzehnte: prefatory essay for the
Stockhausen-Symposium, Inventionen `94 Festival, Berlin. Festival catalogue, 2-10
(1994)
Ein Lebenslauf (een leven in beweging) - Ontwikkelingen in Stockhausens musikale
idioom, in 'Mens, muziek en kosmos- Stockhausen-retrospectief', Amsterdam, 46-55
(1995)
Veertig jaar vernieuwing in de pianomuziek - De Klavierstücke I - XV, in 'Mens,
muziek en kosmos -Stockhausen-retrospectief', Amsterdam, 56-65 (1995)
Mondrian, Fibonacci ... und Stockhausen, Neue Zeitschrift für Musik 4/1998, 31-35
Zwischen Spekulation und Wirklichkeit: Stockhausen im Studio, in
‘Internationales Stockhausen-Symposium 1998 Tagungsbericht’, Pfau,
Saarbrücken, 134-147 (1999)
Stockhausen’s Secret Theater: Unfinished Projects from the Sixties and Early
Seventies, Perspectives of New Music Vol. 36 no.2, 91-106 (2000)
Von der "Sternenmusik" zur Musik des Weltraums, Neue Zeitschrift für
Musik 6/2000, 38-43
New Grove 2 entry (2000) |
| Australian Music |
Höchst sperrig - Michael Smetanin, MusikTexte 71,
48-51 (1997)
Ein Puzzle von Individualitäten, Neue Zeitschrift für Musik 6/1997, 37-39 (1997)
New Grove 2 entries: Don Banks, Gerard Brophy, Chris Dench, Riccardo
Formosa, Liza Lim (2000) |
| 'Complexity' |
Four Facets of the New Complexity, Contact No.32,
London, 4-50 (1988)
On Complexity, Perspectives of New Music 31/1, 42-57 (1993) [first printed as
Mehr Überzeugung als Theorie, MusikTexte Vol.35, Cologne 1990, 6-12] |
| Younger Composers |
[Chris Dench's] Sulle Scale della Fenice,
Perspectives of New Music 29/2, 72-92 (1991)
JEUX pour piano Midi et ordinateur en temps réel, in Denis Cohen,
Compositeurs d'aujourd'hui, Les Cahiers de l'IRCAM, Paris, 63-88 (1993)
Beyond the Crisis of Material: Chris Dench's 'Funk', Contemporary Music
Review 13/1, London, 85-115 (1995)
Nachdenken über den Tod: Richard Barretts ‘Vanity’, Musik und Aesthetik,
Jhrg.2 Heft 5, 44-61 (1998)
Immer Weiter: >Formale Polyphonie< und Robert HP Platz’s Donaueschinger
Zyklus, Musik und Aesthetik, Jhrg. 2 Heft 6, 61-76 (1998) |
| Miscellaneous |
Musical Notation, Collage 9, Palermo, 93-98 (1970)
Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez, Perspectives of New Music 13/1, New
York, 141-69 (1974)
The Pit and the Pendulum: some reflections on `new music', musicology and current
performance practice, Musicology Australia, Vol. IX, Canberra, 2-11 (1986)
Mozart/Mozkitsch, Sydney Journal of Literature and Aesthetics, No.2, Sydney, 7-18
(1992)
John Cage Defended Against His Appropriators, Sydney Journal of Literature and
Aesthetics, No.3, Sydney, 96-107 (1993) [German version, as John Cage gegen seine
Aneigner verteidigt, in ‘Mythos Cage’ (ed. C.-S. Mahnkopf), Wolke Verlag,
Hofheim, 179-191]
The Aesthetics of a tabula rasa: Western Art Music's avant-garde
from 1949-53, Sydney Journal of Literature and Aesthetics, vol.6, 61-76 (1996)
Five Proposals, in ‘Musicae Scientiae: Discussion Forum 2’,
151-155 (2001) |
| Forthcoming
Publications |
Book Chapters
Expanding Horizons, in ‘The Cambridge History of 20th Century
Music’
Takemitsu and the Avant-Garde, in ‘A Way a Lone: On the Music of Takemitsu
Toru’ (Accademia Musica, Tokyo)
"Are You Sure You Can’t Hear It?": some informal reflections on simple
information and listening, in ‘Listening to Modernism’ (University of
Rochester Press). Articles
‘Stele’- a Gravestone as End or Beginning? György Kurtág’s Long
March Towards The Orchestra (Contemporary Music Review)
Encyclopaedia entries:
Richard Barrett ( KdG = Komponisten der Gegenwart)
Gerard Brophy (KdG)
James Dillon (MGG = Musik in Geschichte und Gegenwart)
Brian Ferneyhough (MGG)
Translations
K. Stockhausen, Texts Vol. II (Stockhausen-Verlag) |
| Recent Conference
Papers (unpublished) |
Asian Dialogues?: An End-0f-Century Report on the
Asian Factor in Australian Art Music, Pacific Rim Conference in Transcultural
Aesthetics, Sydney June 1997
Varying the Variations: Mauricio Kagel's "Variations without Fugue"; MSA
National Conference, UNE, Armidale, October 1997
Takemitsu and the Avant-Garde, Takemitsu Symposium, Sydney University, February
1998
Looking Around for Revelations, ASME XII (keynote address), Sydney July 1999
Writing Music’s Boundaries, MOSAIC (SSLA Symposium), Sydney June 2000
Looking Up, Looking Down, Australian Centre Symposium, Berlin, February 2001
The Composer’s Voice, MSA National Conference, Melbourne University, April
2001 |
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