- 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
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