{"id":19,"date":"2008-07-15T10:47:47","date_gmt":"2008-07-15T10:47:47","guid":{"rendered":"http:\/\/spheres.edublogs.org\/?page_id=3"},"modified":"2013-10-27T16:56:31","modified_gmt":"2013-10-27T16:56:31","slug":"resources","status":"publish","type":"page","link":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/resources-2\/resources\/","title":{"rendered":"Reading List"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Intertextuality<\/h3>\n
\n<\/td>\n<\/tr>\n

\"Intertextuality\"<\/td>\nAllen, G. (2000)
\nIntertextuality: <\/em>The New Critical Idiom<\/em>
\nOxford: Routledge<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"barthes\"<\/a><\/td>\nBarthes, R. (1977)
\nImage-Music-Text<\/em> <\/em>
\nLondon: Fontana Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"bloom\"<\/a><\/td>\nBloom, H. (1997)
\nThe Anxiety of Influence<\/em>
\nNew York: Oxford University Press<\/td>\n<\/tr>\n
Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"Chandler<\/td>\nChandler, D. (2007)
\nSemiotics: The Basics<\/em> (2nd Ed.)
\nAbingdon: Routledge<\/td>\n<\/tr>\n
Library<\/a> | Online<\/a> | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"saussure\"<\/a><\/td>\nCuller, J. (1976)
\nSaussure<\/em>
\nLondon: Fontana Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"The<\/td>\nKristeva, J (2002)
\nThe Kristeva Reader<\/em><\/em>
\nOxford: Blackwell<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"raw-cooked\"<\/a><\/td>\nL\u00e9vi-Strauss, C (1994)
\nThe Raw and the Cooked<\/em> <\/em>
\nLondon: Pimlico<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"Orr<\/td>\nOrr, M. (2008)
\nIntertextuality: Debates and Contexts<\/em>
\nCambridge: Polity Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\n

Intertextuality in Music<\/h3>\n
\n<\/td>\n<\/tr>\n

\"\"<\/td>\nKlein, M. (2005)
\nIntertextuality in Western Art Music<\/em>
\nBloomington: Indiana University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"Cook<\/td>\nCook, N. (1999)
\nRethinking Music<\/em>
\nOxford: Oxford University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/a><\/td>\nCook, N. (2000)
\nAnalysing Musical Multimedia<\/em>
\nOxford: Oxford University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"Agawu<\/td>\nKofi Agawu, V. (2009)
\nMusic as Discourse<\/em>
\nOxford: Oxford University Press<\/td>\n<\/tr>\n
Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"Studying<\/td>\nMiddleton, R. (2000)
\nStudying Popular Music<\/em>
\nBuckingham: Open University Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"Linguistics<\/td>\nMonelle, R. (1992)
\nLinguistics and Semiotics in Music<\/em>
\nHarwood Academic Publishers<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"Nattiez<\/td>\nNattiez, J-J. (1992)
\nMusic and Discourse<\/em>
\nPrinceton University Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"A<\/td>\nTarasti, E (1994)
\nA Theory of Musical Semiotics<\/em><\/em>
\nBloomington: Indiana University Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"Signs<\/td>\nTarasti, E. (2002)
\nSigns of Music: A Guide to Musical Semiotics<\/em>
\nNew York: Mouton de Gruyter<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\n

The Science of Sound<\/h3>\n
\n<\/td>\n<\/tr>\n

\"\"<\/td>\nAshton, A. (2005)
\nHarmonograph: A Visual Guide to the Mathematics of Music<\/em>
\nGlastonbury: Wooden Books Ltd<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nHawkins, J. (2006)
\nA General History of the Science and Practice of Music<\/em>
\nWhitefish, MT: Kessinger Publishing Co<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nHelmholtz, H. (1954)
\nOn the Sensations of Tone<\/em>
\nNew York: Dover Publications<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nJeans, J. (1968)
\nScience and Music<\/em>
\nNew York: Dover Publications<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nMaconie, R. (1997)
\nThe Science of Music<\/em>
\nOxford: Oxford University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nRoads, C. (2004)
\nMicrosound<\/em>
\nCambridge, MA: MIT Press<\/td>\n<\/tr>\n
Library | Google
\n<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nSchoenberg, A. (1992)
\nTheory of Harmony<\/em>
\nBerkeley: University of California Press<\/td>\n<\/tr>\n
Library | Download<\/a> | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\n

Music \/ Numbers<\/h3>\n
\n<\/td>\n<\/tr>\n

\"\"<\/td>\nBenson, D. (2006)
\nMusic: A Mathematical Offering<\/em>
\nCambridge: Cambridge University Press<\/td>\n<\/tr>\n
Library | Amazon<\/a> | Download<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nCowell, H. (1996)
\nNew Musical Resources<\/em>
\nCambridge: Cambridge University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nFauvel, J., Flood, R., Wilson, R. (2006)
\nMusic and Mathematics: From Pythagoras to Fractals<\/em>
\nOxford: Oxford University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nLoy, G. (2006)
\nMusicmathics Volume 1: The Mathematical Foundation of Music<\/em>
\nCambridge, MA: MIT Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nLoy, G. (2007)
\nMusicmathics Volume 2: The Mathematical Foundation of Music<\/em>
\nCambridge, MA: MIT Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nWebern, A. (1960)
\nThe Path to the New Music<\/em>
\nBryn Mawr, PA: Theodore Presser<\/td>\n<\/tr>\n
Internet Archive<\/a>
\n<\/a><\/td>\n<\/tr>\n
\n

Music \/ Time<\/h3>\n
\n<\/td>\n<\/tr>\n

\"\"<\/td>\nGriffiths, P. (1985)
\nOliver Messiaen and the Music of Time<\/em>
\nNew York: Cornell University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nMessiaen, O. (1957)
\nThe Technique of my Musical Language<\/em>
\n(two volumes)
\nParis: Leduc<\/td>\n<\/tr>\n
Library<\/td>\n<\/tr>\n
\"\"<\/td>\nMessiaen, O. (1994-2002)
\nTrait\u00e9 de rythme, de couleur et d’ornithologie<\/em>
\n(seven volumes)
\nParis: Leduc<\/td>\n<\/tr>\n
Library<\/td>\n<\/tr>\n
\"\"<\/td>\nPople, A. (1998)
\nMessiaen: Quatuor pour la Fin du Temps<\/em>
\nCambridge: Cambridge University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nReich, S. (2004)
\nWritings on Music: 1965-2000<\/em>
\nNew York: Oxford University Press<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nSamuel, C. (1986)
\nOliver Messiaen: Music and Color<\/em>
\nPortland: Amadeus Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nSherlaw Johnson, R. (1992)
\nMessiaen<\/em>
\nBerkeley: University of California Press<\/td>\n<\/tr>\n
Library | Amazon<\/a><\/td>\n<\/tr>\n
\n

Music \/ Colour<\/h3>\n
\n<\/td>\n<\/tr>\n

\"\"<\/td>\nBetancourt, M. (ed.) (2006)
\nThomas Wilfred’s Clavilux<\/em>
\nRockville, MD: Wildside Press<\/td>\n<\/tr>\n
Library |\u00a0 Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nD\u00fcchting, H. (2004)
\nPaul Klee: Painting Music<\/em>
\nNew York: Prestel<\/td>\n<\/tr>\n
Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nGage, J. (2006)
\nColour and Meaning: Art, Science and Symbolism<\/em>
\nLondon: Thames and Hudson<\/td>\n<\/tr>\n
Library | Google<\/a>
\n<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nKandinsky, W. (1977)
\nConcerning the Spiritual in Art<\/em>
\nNew York: Dover Publications<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a> | Project Gutenberg<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nKandinsky, W. (1980)
\nPoint and Line to Plane<\/em>
\nNew York: Dover Publications<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nMaur, K. (1999)
\nThe Sound of Painting: Music in Modern Art<\/em>
\nNew York: Prestel Verlag<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nRimington, A.W. (2005)
\nColour-Music: The Art of Mobile Colour<\/em>
\nBoston: Adamant Media Corporation<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nShaw-Miller, S. (2004)
\nVisible Deeds of Music: Art and Music from Wagner to Cage<\/em>
\nLondon: Yale University Press<\/td>\n<\/tr>\n
Library | Library E-Book<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\n

Patterns \/ Form \/ Process<\/h3>\n
\n<\/td>\n<\/tr>\n

\"\"<\/a><\/td>\nCage, J. (1968)
\nSilence: lectures and writings<\/em>
\nLondon: Calder and Boyers<\/td>\n<\/tr>\n
Library | Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nMadden, C. (2007)
\nFractals in Music<\/em>
\nSalt Lake City: High Art Press<\/td>\n<\/tr>\n
Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nOlsen, S. (2006)
\nThe Golden Section: Nature’s Greatest Secret<\/em>
\nGlastonbury: Wooden Books Ltd<\/td>\n<\/tr>\n
Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n
\"\"<\/td>\nWade, D. (2006)
\nSymmetry: The Ordering Principle<\/em>
\nGlastonbury: Wooden Books Ltd<\/td>\n<\/tr>\n
Google<\/a> | Amazon<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Intertextuality Allen, G. (2000) Intertextuality: The New Critical Idiom Oxford: Routledge Library | Google | Amazon Barthes, R. (1977) Image-Music-Text London: Fontana Press Library | Amazon Bloom, H. (1997) The Anxiety of Influence New York: Oxford University Press Google | Amazon Chandler, D. (2007) Semiotics: The Basics (2nd Ed.) Abingdon: Routledge Library | Online | […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":137,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":"","_links_to":"","_links_to_target":""},"_links":{"self":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/19"}],"collection":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/comments?post=19"}],"version-history":[{"count":45,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/19\/revisions"}],"predecessor-version":[{"id":1766,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/19\/revisions\/1766"}],"up":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/137"}],"wp:attachment":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/media?parent=19"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}