EARLY WORKS | ||||||||||||||||||||||||||||||
electronica performance chamber orchestral solos duos vocal arrangements research | ||||||||||||||||||||||||||||||
Interim (1952/1998) music for the film Interim by Stan Brakhage for piano |
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Four Inventions (1953-1954) for piano |
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Two Christmas Songs (1954) on texts by Stan Brakhage |
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Poem (1955) for flute |
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Variations in A (on a theme by my father) (1955) for piano |
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String Quartet In One Movement (1955) | ||||||||||||||||||||||||||||||
Improvisation (1956) for cello |
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Trio (1957) for flute, oboe, clarinet |
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Improvisations for Medea (1961) music recorded on magnetic tape |
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ELECTRONIC & COMPUTER & MECHANICAL INSTRUMENTS | ||||||||||||||||||||||||||||||
top performance chamber orchestral solos duos vocal arrangements research | ||||||||||||||||||||||||||||||
Collage #1 (“Blue Suede”) (1961) music recorded on magnetic tape |
3' 26" | |||||||||||||||||||||||||||||
Analog #1 (Noise Study) (1961) computer music recorded on magnetic tape |
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4' 28" | ||||||||||||||||||||||||||||
Entrance/Exit Music (1962) computer music recorded on magnetic tape made in collaboration with George Brecht |
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10' | ||||||||||||||||||||||||||||
Stochastic Studies (1962) computer music recorded on magnetic tape |
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Stochastic Quartet (1961) computer music recorded on magnetic tape |
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3' | ||||||||||||||||||||||||||||
Dialogue (1963) computer music recorded on magnetic tape |
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4' 13" | ||||||||||||||||||||||||||||
Radio Piece (1963) computer music demonstration recorded on magnetic tape |
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Ergodos I (1963) computer music recorded on two magnetic tapes to be played together or separately, optionally with “String Complement” or “Instrumental Responses” for John Cage |
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2 x 10' | ||||||||||||||||||||||||||||
Phases (1963) computer music recorded on magnetic tape for Edgard Varèse |
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12' 24" | ||||||||||||||||||||||||||||
Music for Player Piano (1964) computer music recorded onto player-piano roll |
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6' 15" | ||||||||||||||||||||||||||||
Ergodos II (1964) computer music recorded on stereo magnetic tape to be played forwards or backwards, optionally with “String Complement” or “Instrumental Responses” for John Cage |
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18' 29" | ||||||||||||||||||||||||||||
Couplings (1966) music recorded on magnetic tape for the kinetic-theater piece Snows by Carolee Schneemann |
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Collage #2 (“Viet-Flakes”) (1966) music recorded on magnetic tape for the film Viet-Flakes by Carolee Schneemann |
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10' 17" | ||||||||||||||||||||||||||||
Fabric for Ché (1967) computer music recorded on magnetic tape |
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9' 55" | ||||||||||||||||||||||||||||
For Ann (rising) (1969) music recorded on magnetic tape |
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11' 47" | ||||||||||||||||||||||||||||
Three Pieces for Mechanical Drum (1974) for a sound-sculpture by Stephan von Huene 1. Wake 2. Tempest 3. The Popcorn Effect |
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10' | ||||||||||||||||||||||||||||
Spectral CANON for CONLON Nancarrow (1974) for harmonic player-piano Ciarán Maher’s realizations of 3 Spectral Variations (1998-2007) |
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4' | ||||||||||||||||||||||||||||
Spectral CANON for CONLON Nancarrow (1991) for harmonic player-piano (extended version) |
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5' 25" | ||||||||||||||||||||||||||||
Form 5 (1993) music recorded on magnetic tape |
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6' | ||||||||||||||||||||||||||||
Tempest II (1994) for mechanical drum |
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3' | ||||||||||||||||||||||||||||
Spectral CANON for CONLON Nancarrow (1991/1998) for harmonic player-piano Variation #1 Variation #2 Variation #3 three realizations (2006-2007) by Ciarán Maher based on specifications made by James Tenney |
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3 x 4' | ||||||||||||||||||||||||||||
PERFORMANCE PIECES | ||||||||||||||||||||||||||||||
top electronica chamber orchestral solos duos vocal arrangements research | ||||||||||||||||||||||||||||||
CHAMBER MUSIC (1964) poem/score for any number of performers anywhere for George Brecht |
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Choreogram (1964) verbal score for any number of musicians with dancers |
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Metabolic Music (1965) for performers with bio-feedback and audio equipment |
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For two (gently) (1965) man woman for Charlotte Moorman and Nam Jun Paik |
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Thermocoouple #1 (1965) |
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Audience Piece #1, #2, #3 (1965) solo/duo |
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2ND THERMOCOUPLE (1965) |
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Redbed (1966) various theatrical materials (red bed, red paint, doves, knives...) |
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deus ex machina (1982) for tam-tam player, tape-delay system, technician, and unwary audience in a room, concert-hall or other enclosed space with its own natural resonance I. For Alvin Lucier II. For John Cage and David Tudor |
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CHAMBER MUSIC / VARIABLE INSTRUMENTATION | ||||||||||||||||||||||||||||||
top electronica performance orchestral solos duos vocal arrangements research | ||||||||||||||||||||||||||||||
Seeds I-VI (1956/1961) fl, cl, bsn, hn, vln, vlc |
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7' | ||||||||||||||||||||||||||||
SONATA for Ten Wind Instruments (1959/1983) dedicated to Carl Ruggles |
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5' | ||||||||||||||||||||||||||||
Stochastic String Quartet (1963) |
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3' | ||||||||||||||||||||||||||||
String Complement (1964) any number of string instruments with “Ergodos I”, “Ergodos II”, or any other ergodic sound source published in John Cage: Notations, Something Else Press, 1969 |
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Ergodos II with Instrumental Responses (1964) RESPONSE (Woodwind Part) RESPONSE (Brass Part) RESPONSE (Piano or Percussion Part) RESPONSE (String Part) RESPONSE (Voice Part) any number of instruments/voices with “Ergodos II” |
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Postal Pieces (1965-1971) Scorecards: 1. Beast [cb] for Buell Neidlinger 2. A Rose Is A Rose Is A Round [voice(s)] for Philip Corner 3. (night.) “for percussion perhaps, or ....” for Harold Budd 4. KOAN for solo violin for Malcolm Goldstein 5. MAXIMUSIC [perc] for Max Neuhaus 6. Swell Piece [any number of instruments beyond three] for Alison Knowles 7[a]. Swell Piece No. 2 [any five or more different sustaining instruments] for Pauline Oliveros 7[b]. Swell Piece No. 3 [any eight or more different sustaining instruments] for La Monte Young 8. August Harp for Susan Allen 9. CELLOGRAM for Joel Krosnick 10. Koan: Having Never Written a Note for Percussion for John Bergamo |
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QUIET FAN for ERIK SATIE (1970/1971) for thirteen instruments: fl, alto fl, ob, eng hn, 2 cl, b cl, bsn, tbn, vln, vla, vlc, cb |
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17' | ||||||||||||||||||||||||||||
Timbre Ring (1971) verbal score for any five or more instruments |
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For 12 Strings (rising) (1971) |
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Quintext I-V: Five Textures (1972) for string quartet and contrabass 1. Some Recent THOUGHTS for Morton Feldman 2. CLOUDS for Iannis Xenakis 3. A Choir of ANGELS for Carl Ruggles 4. PARABOLAS and HYPERBOLAS for Edgard Varèse 5. SPECTRA for Harry Partch |
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30' | ||||||||||||||||||||||||||||
In the Aeolian Mode (1973/1976) for prepared piano with any three or more of the following instruments: fl, cl, eng hn, bsn, vibr, mar, chimes, hrp, muted vln, muted vla |
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Canon (1973) for contrabass quartet |
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6' | ||||||||||||||||||||||||||||
Chorale (1973) for viola and harp (or piano) |
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3' | ||||||||||||||||||||||||||||
Chorales (1973) for percussion |
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Chorale (1974/1998) for violin and piano arranged by Marc Sabat |
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3' | ||||||||||||||||||||||||||||
THREE PIECES for Drum Quartet (1974) 1. WAKE for Charles Ives (4 tenor drums) 2. HOCKET for Henry Cowell (4 bass drums) 3. CRYSTAL CANON for Edgard Varèse (4 snare drums) |
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15' | ||||||||||||||||||||||||||||
Symphony (1975) for woodwind quintet and tape-delay system |
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Harmonium #1 (1976) variable ensemble for Lou Harrison |
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Harmonium #2 (1977) for two guitars |
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Saxony (1978) for one or more saxophone players and tape-delay system alternate versions exist for the following instrumentations (with delay): brass quintet 3 saxophones (Saxony #2) string trio or string quartet the score may be realized as a “stochastic canon” for any instrumentation |
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25' | ||||||||||||||||||||||||||||
Harmonium #4 (1978) for ten instruments and tape-delay system |
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12' | ||||||||||||||||||||||||||||
Harmonium #5 (1978) violin, viola, cello for John Cage |
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6' | ||||||||||||||||||||||||||||
Three Indigenous Songs (1979) 2 picc, alto flute, tuba or bassoon, 2 percussion I. No More Good Water (Jaybird Coleman) II. KOSMOS (Walt Whitman) III. Hey when I sing these 4 songs Hey look what happens (translated from the Iroquois by Jerome Rothenberg) for Lionel Nowak |
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15' | ||||||||||||||||||||||||||||
Harmonium #3 (1978/1980) for three harps |
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15' | ||||||||||||||||||||||||||||
Chromatic Canon (1980) two pianos for Steve Reich |
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10' | ||||||||||||||||||||||||||||
Harmonium #6 (1981) fl, ob, cl, bass cl, trp, tbn, str qtet |
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Blues Canon (from “Listen ...!”) (1981) viola, cello, contrabss |
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Septet (1981/2000) for six electric guitars and electric bass |
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9' | ||||||||||||||||||||||||||||
Glissade (1982) for viola, cello, contrabass and tape-delay system I. Shimmer II. Array (a’rising) III. Bessel functions of the first kind IV. Trias Harmonica V. Stochastic-canonic Variations |
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35' | ||||||||||||||||||||||||||||
deus ex machina (1982) for tam-tam player, tape-delay system, technician, and unwary audience in a room, concert-hall or other enclosed space with its own natural resonance I. For Alvin Lucier II. For John Cage and David Tudor |
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Band (1983) vibraphone, 4 fl, ob 4 cl, 2 bass cl 2 alto sax, 2 tenor sax, 3 bsn, 5 trp, 4 hrn, 4 tbn, 2 bari hrn, tuba, cb, perc |
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Bridge (1982-1984) two pianos, eight hands in a microtonal tuning system |
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45' | ||||||||||||||||||||||||||||
KOAN for String Quartet (1984) |
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25' | ||||||||||||||||||||||||||||
Water on the mountain ... Fire in heaven (1985) for six electric guitars |
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25' | ||||||||||||||||||||||||||||
CHANGES: 64 Studies for Six Harps (1985) for Udo Kasemets |
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140' | ||||||||||||||||||||||||||||
The Road to Ubud (1986/2001) for Gamelan-ensemble and prepared piano in memory of Ann Holloway |
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20' | ||||||||||||||||||||||||||||
Rune (1988) percussion quintet for Lauren Pratt |
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20' | ||||||||||||||||||||||||||||
Critical Band (1988/2000) for sixteen or more sustaining instruments |
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17' | ||||||||||||||||||||||||||||
Tableaux Vivants (1990) violin, (bass) cl, bsn, sopr/bari sax, pf, vibraphone |
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20' | ||||||||||||||||||||||||||||
Pika-Don (“flash-boom”) (1990) for percussion quartet and four-channel recording I. Alamogordo II. Hiroshima |
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21' | ||||||||||||||||||||||||||||
Three New Seeds (1991) (bass) cl, trp, cb, pf, 2 perc |
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3' | ||||||||||||||||||||||||||||
Stream (1991) alto fl, eng hn, cl, alto sax, flugelhn, vibraphone, hrp, vla |
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Ain’t I A Woman? (1992) 2 vln, 2 vla, 3 vc, celesta, based on a text by Sojourner Truth |
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20' | ||||||||||||||||||||||||||||
Cognate Canons (1993) string quartet and percussion for Conlon Nancarrow |
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24' | ||||||||||||||||||||||||||||
Flocking (1993) for two pianos tuned a quarter-tone apart |
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13' | ||||||||||||||||||||||||||||
Form 1 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam Edgard Varèse |
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19' | ||||||||||||||||||||||||||||
Form 2 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam John Cage |
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17' | ||||||||||||||||||||||||||||
Form 3 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam Stefan Wolpe |
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14' | ||||||||||||||||||||||||||||
Form 4 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam Morton Feldman |
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16' | ||||||||||||||||||||||||||||
Ergodos III (1994) for two pianos in memoriam John Cage |
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24' | ||||||||||||||||||||||||||||
In a large, open space (1994) for variable ensemble (12 or more instruments) |
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In a large, reverberant space (1995) for variable ensemble (12 or more instruments) |
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Spectrum 1 (1995) vln, trp, bass cl, 2 perc, pf, cb |
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15' | ||||||||||||||||||||||||||||
Spectrum 2 (1995) wind quintet |
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15' | ||||||||||||||||||||||||||||
Spectrum 4 (1995) vln, alto recorder, vibraphone, gtr, pf, bass cl, tenorbass tbn, cb |
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16' | ||||||||||||||||||||||||||||
Spectrum 5 (1995) fl, ob, bass cl, bsn, vibraphone, hrp, pf, vla |
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16' | ||||||||||||||||||||||||||||
’Scend for Scelsi (1996) chamber ensemble with alto saxophone fl, ob, cl, alto sax, trp, 2 hn, 2 tbn, 2 vla, 2 vlc, cb |
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16' 30" | ||||||||||||||||||||||||||||
Diaphonic Study (1997) string quartet and piano in a microtonal tuning |
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18' | ||||||||||||||||||||||||||||
Diaphonic Toccata (1997) piano and violin for Ruth Crawford Seeger |
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3' | ||||||||||||||||||||||||||||
Diaphonic Trio (1997) for violin and piano in a microtonal tuning |
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15' | ||||||||||||||||||||||||||||
Harmonium #7 (2000) for 12 or more sustaining instruments |
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12' | ||||||||||||||||||||||||||||
(Fontana) MIX for SIX (Strings) (2001) 2 vln, 3 vla, vlc and optional delay-system |
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14' | ||||||||||||||||||||||||||||
Spectrum 6 (2001) fl, bass cl, perc, pf, vln, vlc |
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15' | ||||||||||||||||||||||||||||
Spectrum 7 (2001) fl, vlc, pf with optional delay-system |
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15' | ||||||||||||||||||||||||||||
Spectrum 8 (2001) for viola obbligato and fl, cl, perc, pf, vln, vlc |
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15' | ||||||||||||||||||||||||||||
Dance: “Mallets in the Air” (2002) arrangement of the second part of “Song’n’Dance for Harry Partch” for Diamond Marimba and string quartet |
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Just Another Bagatelle (2004) violin and cello |
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30" + | ||||||||||||||||||||||||||||
For Piano and ... (2005) piano and ensemble |
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8' | ||||||||||||||||||||||||||||
Arbor Vitae (2006) string quartet |
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13' | ||||||||||||||||||||||||||||
ORCHESTRAL MUSIC / VARIABLE INSTRUMENTATION | ||||||||||||||||||||||||||||||
top electronica performance chamber solos duos vocal arrangements research | ||||||||||||||||||||||||||||||
Essay (1957) chamber orchestra |
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18' | ||||||||||||||||||||||||||||
String Complement (1964) any number of string instruments with “Ergodos I”, “Ergodos II”, or any other ergodic sound source published in John Cage: Notations, Something Else Press, 1969 |
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Ergodos II with Instrumental Responses (1964) RESPONSE (Woodwind Part) RESPONSE (Brass Part) RESPONSE (Piano or Percussion Part) RESPONSE (String Part) RESPONSE (Voice Part) any number of instruments/voices with “Ergodos II” |
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Postal Pieces (1965-1971) Scorecards: 6. Swell Piece [any number of instruments beyond three] for Alison Knowles 7[a]. Swell Piece No. 2 [any five or more different sustaining instruments] for Pauline Oliveros 7[b]. Swell Piece No. 3 [any eight or more different sustaining instruments] for La Monte Young |
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CLANG (1972) for orchestra |
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12' | ||||||||||||||||||||||||||||
Chorales (1974) for orchestra for Ann Holloway |
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12' | ||||||||||||||||||||||||||||
Orchestral Study: “The Creation Field” (1974) after Fred Hoyle |
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Three HARMONIC STUDIES (1974) for small orchestra |
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10' | ||||||||||||||||||||||||||||
Harmonium #1 (1976) variable ensemble for Lou Harrison |
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Saxony (1978) the score may be realized as a “stochastic canon” for any instrumentation |
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25' | ||||||||||||||||||||||||||||
Critical Band (1988/2000) for sixteen or more sustaining instruments |
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17' | ||||||||||||||||||||||||||||
Form 1 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam Edgard Varèse |
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19' | ||||||||||||||||||||||||||||
Form 2 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam John Cage |
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17' | ||||||||||||||||||||||||||||
Form 3 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam Stefan Wolpe |
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14' | ||||||||||||||||||||||||||||
Form 4 (1993) for variable ensemble (at least 16 players) woodwinds, brass, strings, pitched percussion in memoriam Morton Feldman |
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16' | ||||||||||||||||||||||||||||
In a large, open space (1994) for variable ensemble (12 or more instruments) |
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In a large, reverberant space (1995) for variable ensemble (12 or more instruments) |
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Spectrum 3 (1995) chamber orchestra |
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18' | ||||||||||||||||||||||||||||
Diapason (1996) chamber orchestra 2 (bass) fl, 2 ob/e hn, 2 (bass) cl, 2 (contra-)bsn, 2 trp, 2 hn, tbn, 16 vln, 6 vla, 4 vlc, 2 cb |
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19' | ||||||||||||||||||||||||||||
Song’n’Dance for Harry Partch (1999) Adapted Viola, Diamond Marimba, strings and percussion 1. Song: “My technique” 2. Dance: “Mallets in the air” |
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15' | ||||||||||||||||||||||||||||
Harmonium #7 (2000) for 12 or more sustaining instruments |
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12' | ||||||||||||||||||||||||||||
Five Studies for Player Piano by Conlon Nancarrow (2000) arranged for small orchestra |
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15' | ||||||||||||||||||||||||||||
Last Spring in Toronto (2000) for Gamelan-ensemble and orchestra |
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16' | ||||||||||||||||||||||||||||
Panacousticon (2005) for orchestra |
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SOLO PIECES | ||||||||||||||||||||||||||||||
top electronica performance chamber orchestral duos vocal arrangements research | ||||||||||||||||||||||||||||||
Monody (1959) for clarinet |
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4' | ||||||||||||||||||||||||||||
Just a Bagatelle (1959/1999) for viola |
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3' | ||||||||||||||||||||||||||||
String Complement (1964) any number of string instruments with “Ergodos I”, “Ergodos II”, or any other ergodic sound source published in John Cage: Notations, Something Else Press, 1969 |
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Ergodos II with Instrumental Responses (1964) RESPONSE (Woodwind Part) RESPONSE (Brass Part) RESPONSE (Piano or Percussion Part) RESPONSE (String Part) RESPONSE (Voice Part) any number of instruments/voices with “Ergodos II” |
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Postal Pieces (1965-1971) Scorecards: 1. Beast [cb] for Buell Neidlinger 3. (night.) “for percussion perhaps, or ....&rdquo for Harold Budd 4. KOAN for solo violin for Malcolm Goldstein 5. MAXIMUSIC [perc] for Max Neuhaus 8. August Harp for Susan Allen 9. CELLOGRAM for Joel Krosnick 10. Koan: Having Never Written a Note for Percussion for John Bergamo |
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Three Rags for Pianoforte (1969) 1. Raggedy Ann 2. Milk and Honey (Mielle’s Rag) 3. Tangled Rag |
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13' | ||||||||||||||||||||||||||||
Blues for Annie (1975) for viola for Ann Holloway |
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Two Koans and a Canon (1982) for viola and tape-delay system |
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Beatles Song Arrangements (1992) for piano 1. Do You Want to Know a Secret 2. Love Me Do for Aki Takahashi |
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2 x 3' | ||||||||||||||||||||||||||||
Three Pages in the Shape of a Pear (1995) for piano (or ... ) in celebration of Erik Satie |
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3' | ||||||||||||||||||||||||||||
Seegersong #1 (1999) for clarinet or bass clarinet |
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12' | ||||||||||||||||||||||||||||
Seegersong #1 (1999) for flute or alto flute |
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12' | ||||||||||||||||||||||||||||
Prelude and Toccata (2001) for piano |
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10' | ||||||||||||||||||||||||||||
To Weave (a meditation) (2003) for piano |
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15' | ||||||||||||||||||||||||||||
Essay (after a sonata) (2003) for piano (with respect to the “Concord Sonata” by Charles Ives) |
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8' | ||||||||||||||||||||||||||||
DUOS | ||||||||||||||||||||||||||||||
top electronica performance chamber orchestral solos vocal arrangements research | ||||||||||||||||||||||||||||||
Chorale (1973) for viola and harp (or piano) |
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3' | ||||||||||||||||||||||||||||
Chorale (1974/1998) for violin and piano arranged by Marc Sabat |
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3' | ||||||||||||||||||||||||||||
Harmonium #2 (1977) for two guitars |
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Chromatic Canon (1980) for two pianos for Steve Reich |
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10' | ||||||||||||||||||||||||||||
Flocking (1993) for two pianos tuned a quarter-tone apart |
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13' | ||||||||||||||||||||||||||||
Ergodos III (1994) for two pianos in memoriam John Cage |
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24' | ||||||||||||||||||||||||||||
Diaphonic Toccata (1997) piano and violin for Ruth Crawford Seeger |
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3' | ||||||||||||||||||||||||||||
Diaphonic Trio (1997) for violin and piano in a microtonal tuning |
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15' | ||||||||||||||||||||||||||||
Just Another Bagatelle (2004) violin and cello |
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30"+ | ||||||||||||||||||||||||||||
MUSIC WITH VOICE | ||||||||||||||||||||||||||||||
top electronica performance chamber orchestral solos duos arrangements research | ||||||||||||||||||||||||||||||
Thirteen Ways of Looking at a Blackbird (1958/1971) 1958 version: tenor voice, 2 fl, vln, vla, vlc 1971 version: bass voice, ob, (alto) fl, vla, vlc, cb |
6' | |||||||||||||||||||||||||||||
Ergodos II with Instrumental Responses (1964) RESPONSE (Voice Part) any number of voices with “Ergodos II” |
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Postal Pieces (1965-1971) Scorecards: 2. A Rose Is A Rose Is A Round [voice(s)] for Philip Corner |
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Hey When I Sing These 4 Songs Hey Look What Happens (1971) for soprano, alto, tenor, bass voice(s) on a text from the Iroquois translated by Jerome Rothenberg |
3' | |||||||||||||||||||||||||||||
Listen ...! (1981/1984) for 3 soprano voices and piano in memoriam John Lennon (and Wilhelm Reich) for Jacqueline Humbert and David Rosenboom |
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5' | ||||||||||||||||||||||||||||
Nathan’s Song (1983) voice and, piano composed with Ann Holloway |
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Voice(s) (1983/1984) variable ensemble, voice(s), and multiple tape-delay systems |
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24' | ||||||||||||||||||||||||||||
Sneezles (1986/1995) for soprano, flute or alto recorder, clarinet, vibraphone, violin |
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3' | ||||||||||||||||||||||||||||
Pika-Don (“flash-boom”) (1990) for percussion quartet and four-channel recording I. Alamogordo II. Hiroshima |
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21' | ||||||||||||||||||||||||||||
ARRANGEMENTS | ||||||||||||||||||||||||||||||
top electronica performance chamber orchestral solos duos vocal research | ||||||||||||||||||||||||||||||
Beatles Song Arrangements (1992) for piano 1. Do You Want to Know a Secret 2. Love Me Do for Aki Takahashi |
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2 x 3' | ||||||||||||||||||||||||||||
Five Studies for Player Piano by Conlon Nancarrow (2000) arranged for small orchestra |
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15' | ||||||||||||||||||||||||||||
(Fontana) MIX for SIX (Strings) (2001) 2 vln, 3 vla, vlc and optional delay-system |
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14' | ||||||||||||||||||||||||||||
RESEARCH | ||||||||||||||||||||||||||||||
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Bibliography of James Tenney’s writings (2006) |
compiled by Stina Hanson, California Institute of the Arts
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On “crystal growth” in harmonic space (1993-1998) |
German translation published in MusikTexte 112 (Köln, 2007) MusikTexte - Zeitschrift für Neue Musik edited by Gisela Gronemeyer and Reinhard Oehlschlägel - Wolfgang von Schweinitz’s transcription of the diagrams in Helmholtz-Ellis notation
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A History of ‘Consonance’ and ‘Dissonance’ (1988) |
originally published by Excelsior Music Publishing Company, New York
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John Cage and the Theory of Harmony (1983) |
originally published in Soundings 13: The Music of James Tenney (edited by Peter Garland, SOUNDINGS Press, Santa Fe, 1984) - Wolfgang von Schweinitz’s transcription of the diagrams in Helmholtz-Ellis notation
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Form in 20th Century Music (1969-1970) |
an edited version of this text was published in The Dictionary of Contemporary Music in 1973
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Computer Music Experiences, 1961-1964 |
a text about Tenney’s research at Bell labs
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biography
catalog (pdf)
publishers
Plainsound home PLAINSOUND MUSIC EDITION 2007 |