Music of the Spheres

Sample Essay Titles

Listed below are the essay titles from the last delivery of Music of the Spheres by way of example.
  • The role of perception in process-based music
  • Cantus in Memorium Benjamin Britten by Arvo Pärt and the employment of prolation canon form
  • Pitch symmetry in Webern’s op. 27
  • Stockhausen’s Samstag aus Licht: Time and music
  • Process as input, pro cess as output: compositional approaches in the music of Steve Reich
  • The application of the Fibonacci series and the Golden Section in Bartók’s Music for Strings, Percussion and Celesta
  • The role of notation in Cage’s composition aesthetic
  • Proportional relationships between Debussy’s La Mer and Hokusai’s The Great Wave
  • Form as process in the rhythmic modes of medieval and early music
  • Gesture and texture as a forming principle in Gérard Grisey’s Partiels
  • Addition and subtraction as formal structuring process in Glass’s Two Pages and Rzewski’s Les Moutons de Panurge
  • Aronofsky’s Pi: The Fibonacci sequence, technology and consciousness
  • Colour as a structural determinant in Messiaen’s Chronochromie
  • Symmetry in Bach’s A Musical Offering
  • Pink Floyd’s experiments in mobile colour and music: towards the development of an aesthetic
  • Rhythmical structures in Reich’s Six Pianos
  • The use of organisational systems in generative music with reference to Brian Eno’s Discreet Music
  • The application of Golden Section and the Fibonacci Sequence in the music of Béla Bartók
  • Form and process in John Cage’s Imaginary Landscape No. 4
  • The application of form as process within Brian Eno’s Fullness of Wind
  • The recycling and dissolving resonant form of [Alvin Lucier’s] I am sitting in a room
  • Form and moment-forming: an examination of the application of Form as Process in Karlheinz Stockhausen’s Mikrophonie II
  • Stravinsky’s employment of rhythm on The Rite of Spring
  • Form and process in Alvin Lucier’s I am sitting in a room
  • The Golden Ratio and Fibonacci Sequence in relation to Bartók’s Sonata for Two Pianos and Percussion
  • Form as process in Music in Similar Motion by Philip Glass
  • Crystals as a sound organisation technique used by Varèse with specific reference to Density 21.5 and the first movement of Octandre
  • Structure and form in the graphic scores of Morton Feldman
  • The use of game theory as a choice-based organisational system in Iannis Xenakis’ Stratégie
  • Symmetry as a compositional device in J. S. Bach’s Musical Offering
  • Algorithmic processes in Xenakis’ La Légende D’Eer
  • Form as process in Steve Reich’s music between 1965-1969
  • Steve Reich – Form as process: Immediate rhythmic change in Clapping Music
  • The Realisation of Process in Steve Reich’s Piano Phase/Marimba Phase: a Comparative Analysis
  • A comparative analysis of the application of process in Steve Reich’s Pendulum Music and Drumming
  • Mozart and Mathematics – The Golden Ratio
  • Steve Reich: Different Trains – Music as a Gradual Process
  • An exploration into the use of canon and fugue as structural devices in Bach’s Musical Offering
  • Form as process in Philip Glass’s composition Two Pages
  • Music as process in Terry Riley’s In C
  • The use of Golden Section in Debussy’s prelude Ce qu’a vu le vent d’ouest
  • An exploration of form as a gradual process in James Tenney’s Chromatic Canon
  • Form as Process in Steve Reich’s Piano Phase
  • The application of non-musical organisational systems in Avro Pärt’s Cantus in Memory of Benjamin Britten
  • Processes of indeterminacy in John Cage’s Imaginary Landscape No. 4