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Queezinart-hocket in a blenJufor chamber ensemble

A thesis submitted to theFaculty ofGraduate Studies and Researchin partial fulfillment of the requirements of the degree ofMaster ofMusic in Composition

Andriy TalpashMcGill University, Montral

March 1999


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Abstract

Queezinart - hocket in a blender is a composit ion for five woodwinds, fivebrass, percussion (two players), piano, two violins, viola, cello and double bass,with a duration of approximately 14 minutes. There are six main sections in thispiece. The work is structured 50 that musical ideas flow smoothly and graduallybetween sections. Also, the musical events are organized in such a way that theperceived, experienced tinte is manipulated and distorted, through varyingactivity and density of musical events.


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Acknowledgments

1 would like to express my appreciation to the following: Prof. BrianChemey for his knowledge and valuabIe guidance; Prof. Denys BouBane fortaking the tinte to leam and conduct this work; members of the McGillContemporary Music Ensemble for the preparation and performance of thework; Scott Godin for bis advice and being himsel f; my family for lifelongsupport; and my wife Lesia for her endless love and inspiration.

ii


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Contents

AbstractAcknowledgments iiQlleezinart - hocket in a blender 1Analysis

Introduction 50Manipulation of time 51

Sectional analysisSection A 55Section B 58Section C 60Section D 61Sections E & F 64-Relationships within global form 67Bibliography 68

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Queeziuart-Ilocket ill a blender

Instrumentation.:Ouleoboe. doubling on 2 crystal glasses (tuned ta A4 and Bb4)clarinetin Bn. tbasa clarinet in 8 fIat, doubling on c1arinet in B flatbassoon. doubling on 2 crystal glasses (tuned ta D5 .n d ES)hominFtrumpetin Bna ttrombonebu s trombonetubapercussion 1:glockenspiel. marimba. bi.ngle. suspended cymbal. 4 sm.U Chinese gongcymbals, 2 bongos, 4 low t a m ~ t o m s . bass drumpercussion 2:crotales. vibraphone (matar ofO. 2 wood blk.5. 4 cowbells, olutomobilebrake drum. bell tree. suspended cymb.tl. large tam-tam. timpani (tunedta El. Bb2. D3. AJ)piatna2 violinsviolavioloncelledouble b.tss (wtth a lew C e:\teruian)

This 5 .. transposed score.Ouralion: approxim.ately 14'.


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AnalysisIntroduction

Queezinart-hocket in a blender is a composition for eighteen players-fivewoodwinds, five brass, two percussionists, piano, two vioiins, viold, cello dnddouble bass-with a duration of approximately fourleen minutes. The title hasno relevance to the musical materials in the piece; it is a title chosen so as not toimpose presupposed programmatic ideas and/or emotive qualities on thelistener. Therefore, the piece has no subjective meaning-it is simply a flow ofmusical events. One could suggest that the title implies the existence of 'hocketlike' material in the work, but this material would be 'minced' and scattered dueta the fact that i t has been fed to a blender, in a figuraI manner, of course. This,then, leaves the listener confused with respect to the dispersed appearance andthe function of the 'hocket-like' material, and more importantly, leaves thelistener at 'square one'-deciding how to listen ta the piece. Furthermore, theabsence of presupposed conditions forces one to listen actively to the immediatecharacteristics of the piece as it unfolds-timbre, forro, rhythm, dynamics, etc.

The non-programmatic title is important insofar as it imposes on thestener the important issue of the piece-'figures.' Figures can be described asthe movement of sound in a multi-dimensional process. The figures in this piecehave a dual role in respect to how they are structured and how they function in alarge-scale forme Firstly, the figures in this piece undergo slow and gradua!

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metamorphosis within sections, and on a larger scale, from section to section.Secondly, the figures are created in such a way that they distort and manipulateperceived time. The unification and interplay of these two ways in whichfigures behave in this work establishes a form, one which acts as a co-dependentthird factor in a multi-dimensional web of interrelated elements workingtogether to cause the manipulation of perceived temporality. Before tackling thespecific figurai details that enable musical temporal manipulation in each of thesix sections in Queezinart - hocket in a blender, it is necessary to discuss howfigures can manipulate and distort perceived time.

Manipulation of time

A key influence in composing Queezinart-Itocket in a blender, with respectto the manipulation of perceived time, is the theoretica1 and psychologicalphilosophy of music termed. 'complex.'l A major composer of 'complex' music isBrian Femeyhough (b. 1943), a composer who often strives to distort perceivedtime in his work. One of the reasons this music is labeled 'complex' is due to its'information.-overload' auraI quality. Barbara R. Barry believes that the more'effort' required to process a multitude of complex musical events the more timethe listener believes has gone by; she has termed this The Tenlpo/Density TIzeary.2Most often, when music is 50 densely written with respect to rhythms, dynamics,

1 This music is also referred to as '6New Complexity."2 Bmbara R. Barry, }Vlusical rime: The Sense o/Order (Stuyvesanr. NY: Peodragon ~ 1990), 181.

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attacks, and timbres within a multitude of simultaneous figuraI processes, thebrain can not 'catch up,' thereby distorting and lengthening the natural sense oftime; this "constantly creates situations which are psychically rather thanphysically exhausting."3 This occurs when 'clock' time, or the internallyconstant, natura1 human time of reference-heart rate, rate of breathing,adrenaline flow- is distorted due to the swarm of audible information in amulti-dimensional frame. Femeyhough has said that this can accur in musicwhere IIthe relationship between the rate of harmonic change and the density ofsurface figuration...encourage[s] the mind ta move 'toc fast' and, as a resulf:rfind itself constantly pulled up short by the slightly counterintuitive viscosity ofinformation presentation."4 Though this is true, it must be clarified thatIlcomplex perceptual states arise, not from the quantity of discrete particlesdistinguishable therein,... but by reason of the perspectival causal energies withwhich they are invested as a result of the intersection, irnpingement and mutualtransformation of linear processes in momentary successive or overlappingchaotic vortices of perturbance."5 More simply, the perceptual distortion of timeIl does not correspond ta the amount of information presented, but has more to dowith contextual relationships, and with the quality of mental structures derived

3 Richard Toop. "On C o m p l e . ~ t y . " Perspectives ofNew lvlusic 31. No. 1(Winler. (993), 55.James Boros, -Composng a Y table (IfTransitory) Self-Brian Femeyhough in conversationwith JamesBoros," PerspectivesofNew Music 32, No.l (Winter, 1994), 123.s Brian F e m e y h o u ~ ~ P a r a l l e l U n i v e ~ " in Asthetik und Komposition: lu r Aktualitat der DarmstadterFerienkursarbeit, Darmstadter Beitrage 20 (Mainz, 1994), 18.

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from the surfaces by the listener."6 It is at this point that the manipulation anddistortion of tinte becomes an objective entity:

When we listen intensely to a piece of music there are moments when our consdousnessdetaches itself from the immediate flow of events and comes ta stand apart, measuring,scanning, aware of itseH operating in a "speculative time-space" of dimensions differentfrom those appropriate ta the musical discou.rse in and of tself. We become aware ofthe passing of t ime as something closely approaching a physicaL objectivized presence.7

The only way in which manipulation and distortion of tinte can take placeis through the retention of stimuli. Robert E. Ornstein, a psychologist who hasstudied and conducted experiments on the manipulation of perceived time,believes that the manipulation of experienced time must involve:

8 memory of the entire intervaL longer than the tleeting 'input register' storage. Thetime-order effect shows that any approach 10 duration experien must he a storage one,oot merely an 'input register' type. These theories are of similar arder, the onlydifference being that the 'input register' holds that duration experien depends on theinput information during the intervaL while a storage approach holds [!hatl theinformation remaining in storage determines duration experience. 8

In other words, i t is the memory of events that is a crucial factor in the distortionof perceived time. Also, the degree to which experienced time will belengthened depends on the size of space required to retain stimuli:

It takes more space to store new events, 50 that an increase in the number of events in aninterval should increase storage sZe and lengthen the experience of duration of tha tinterval. It aJso takes more space ta store increasingly complex events (in theinformation theory sense) 50 the experience of duration should lengthen as thecomplexity of the stimuli or of the sequence of stimuli increase.9

6 James B o r o s ~ -Why Complexity-Part Two (Guest Editor's Introduction)," Perspectives ofNew .\'Iusic32, No.!. (Winter. (994),91.7 Brian F e m e y h o u ~ ~ e Taetility ofTime (Darmstadt Lecture 1 9 8 8 ) ~ n Perspectives ofNew Music 31,NO.l (Winter, 1993). 21.8 Roben E. O m s t e i ~ On the Experience o/rime ( M i d d l ~ England: Penguin Books. 1(69), 104.9 Ibid., lOS - 106.

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The manipulation and distortion of tinte in QueezinaTt-hocket in a blenderis based on the discussions above regarding the manipulation of time. As far asthe distortion of perceived time is concemed, a distinction must he made:'figure' is, in a way, related. to 'texture', but there is an important difference. TomanipuIate perceived tinte, one must not regard the movement of sound as'texture.' A single, global view of a mass of musical information (texturaIlistening) negates any chance for there ta exist any distortion of perceived tinte.On the other hand, when one listens ta a mass of musical information asinrwoven and interrelated. non-linear sound abjects in motion, then timedistortion might accur. It is the intent in Most of the six sections of this piece tostart at a lowand static degree of perceptual temporal distortion, increase to ahigher degree, and then decrease back down ta a lower degree. In other words,the figures expand the perceived duration of each section by a length generateddue ta the activity and densi ty of musical information. The degree to whiehexperienced tirne will he lengthened ultimately rests on the listener's musicalability. An experienced listener will retain more of the specifie details of musicalideas and figures for a longer period of time-thereby increasing the degree ofperceived tirne distortion- than an inexperienced listener. As mentioned earlier,the way in which time is manipulated in this piece is dependent on the figures:activity in the individual voices (linearly), activity in general (vertically/ nonlinearly), orchestration (timbres involved), dynamics, register, short and longnotes, etc.. Though the figures and perceived temporal distortions change

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slowly and gradually, thereby naturally blurring sectional articulations, formaidivisions are appended here for analytical purposes:

Section A: mm. 1 -37B: mm. 38-81C: mm. 82 -106D: mm. 107 -146E: mm. 147 -159F: mm. 160 - 183

Sectional analysis

In the following discussion, the musical activity of the figures in each ofthe six sections will he examined, in order to show how these figures generateperceived temporal distortions.

Section A- mm. 1 - 3 7

Section A is in two parts. The first part (the opening of the piece) beginswith the muted tuba playing a two-note motive, a descending semitone in thelow register. This motive appears throughout the work, performed only by lowregister instruments. The motive is augmented by the addition of instruments,and is itself developed into longer, 'extended' motives. As instruments and

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instrument familles 'pass' the 'extended' motives back and fortlt in mm. 1 - 15,the figure begins to feel more and more unstable. In cornposing this figure, thenotes for each instrument (linearly), were selected somewhat randomly, thoughfavoring tritones, semitones and thirds. The rhythms were chosen withawareness to physical and technicallimits of each instrument The overall intentin mm. 1 - 16 was to create the illusion that the lwo-note motive had multipliedinfinitely.

In mm. 14 - 15, the cello abandons its original figure to bring us ioto thesecond part of Section A, mm. 16 - 37. The primary focus of this second part isthe 'centralization' of the note e; the cella initiates this activity in m. 16, joined bythe viola in m. 19, and the two violins in m. 20. The strings 'centralize' aroundthe e by attacking and sliding between e and their upper and lower quarter-tonesuntil m. 32 The noteewas chosen because of the violin's double..stop capability;e-natural is produced on l (sul E) and the upper and lower quarter-tones of e areproduced on fi (sul A), thereby blurring the pitch. The upper woodwinds andtrumpet join the 'centralization' of e in mm. 23 - 37, thereby overlapping andcompleting the 'centralization' in the second part of Section A. In the'background,' the instruments from the first part of Section A (minus the cella)reiterate the two-note motive from the first part of Section A, although here theyattack together.

It should he noted that in Section A, four rhythms which are closelyrelated are introduced; these enter again at different points in the piece: a) the

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two-note motive, b) a series of 'random' notes in continuai rhythm, c) the two-note motive with the second note held, and finally, d) a repeated note, with theduration of rest between each successive entry gradually increasing.

~ .

As the activity increases in mm. 1 - 16, the perceived tinte is lengtheneddue to the amount of information being processed; the countIess pitches,dynamics, instruments, timbres, rhythms, etc., gain in activity and momentumthereby forcing the expansion of experienced time. As the listener tries ta acceptperceptually the processes and relationships of aIl the musical elements, themind can not 'catch up' to the abundance of information, thereby making themind believe that more time had passed than actually did. However, by'centralizing' e at m. 16, the listener may feel a retum ta 'clock-time' frOIDlengthened perceived time. This 'centralization' of e is far more stableharmonically compared ta mm. 1 ... 15, where there is no pitch center. On theother hand, the lengthening of perceived tinte may continue into the second partof Section A due to the Many unstable frequencies being projected from the

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quarter-toRes. Nonetheless, perceived tirne retums to 1elock-time' as the activitygradually slows to a statie end in m. 37. Therefore, the perceived temporaldistortion and lengthening started at a very low leveI, proceeded to a very highlevel, and retumed ta normal.

Section B-mm. 38 - 81

The transition into Section B from Section A is very smooth; the twoviolins, viola and cello hold lgh harmonics into Section B. In mm. 38 - 44, thepiano plays short ideas that never develop. Beginning in m. 44, emphasis isplaced on strict sectional writing as the woodwind, brass and string sectionsperform their own figures for the remainder of the section, as the piano andpercussion help punctuate attacks and fil1 out the timbre. The writing isarranged so that the focus jumps between the instrumental groups. The shift ofattention between the three figures ereates a larger 1conversation-like' figure. Astwo figures diminish in activity and dynamics, the remaining figure is broughtta the foreground. In m. 68 the three instrumental groups continue similarmaterial from before, but now without regard to each other 's activity, meaningthat the three figures act independently from each other. The three figures inmm. 68 - 75 are somewhat similar; nine-tuplet groupings are used. In m. 75, al linstrumental groups, except brass, have nine-tuplet groupings, and on beats

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three and four of that measure, the nine-tuplets are grouped by six to set up theclimactic 6/8 meter in m. 76. Two pauses then occur for contrast and relief.

The pitches used in Section B are, linearly, far more chromatic (by haIfsteps) than in Section A. AIso, with respect pitch organization, in m. 68 the brasssection introduces a I2-tone series:

~ Ii- .,.,wgEach sequentiai entry is the next note of the series, and the dynamics increase forthe first three of four repetitions of the series. This 12-tone series is one of four12-tone series heard in the piece, but the first four notes of this particuJar seriesbecome very important in Section C, and for the remainder of the piece.

Perceived time slowly and gradually lengthens in Section B, due ta thecontinuaI addition of layers of activity, but there is a retum to 'clock' time at thefrrmati in the last two measures of the section due to the lack of aurai stimuliduring the fermati. The transfer and transaction of figures in the foregroundenables the manipulation of time. The kind of'roller coaster' transfers of figuresbeing forced into the foreground and, in mm. 68 - 75, the addition ofindependent figures performed simultaneously, causes the mind to believe moretime has passed. It is because the three different figures are constantly emerginginto the foreground that the mind must constantly work to shift its focus onto thedifferent figures, thereby extending perceived temporality.

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SectionC-m. 82 -106

The function of this section is transitional, i.e., the movement from SectionB to Section D. There are two new musical ideas tha t are introduced in thissection.. Firstly, sequences of unison notes are implemented as a contrast to thefirst two sections. In m. 82, several instruments play a unison line but sorne ofthe notes in the line are held. This idea appears, though varied a little, in thebrass, double bass and piano in mm. 90 - 97. The idea finally comes to berealized in its entirety in the flute, two clarinets and piano in m. 93, and joinedby the bassoon and oboe in m. 98. The second musical idea introduced inSection C is the use of 12-tone series. There a re four unrelated 12-tone seriesemployed in this section:

o.) ~ . b . ! i 5 ~

The first four notes of the first 12-tone series appear throughout this section. Thea, b-flat, d and e first appear in this section in m. 85, in the crystal glasses,percussion, and piano. The four notes appear as a chord in ff i. 87 in the tw'ovialins, viola and cella. These strings then continue by making glissandi betw'eenthe four notes of the chard, re-bowing every chord note. The entirety of the four

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12-tone series begins in m. 93 a nd en ds in m. 106. Th e introduction of ronning16th notes in the piano an d woodwinds in m. 96 prepares for the musical eventsin Section D.

Although there are 3 layers of figures in the Most d en se p ar t of Section C,th e listener will perceive the passing of time close to 1clock-time.' Bysystematically repeating musical ideas, the figures involved ar e straightforwardan d not complex ta process mentally; for example, the brass, double bass an dpiano stack notes to form chords that recur every measure, in mm. 90 - 97. In thes am e wa y, with respect to repetition of material, th e glissandi in the strings inmm . 88 - 96 repeat consistently. The only malerial that couJd cause thelengthening of perceived time is the running l6 th notes in the woodwinds an dpiano, in combination with the other two figures-mm. 93 - 97. The running 16thnotes themselves will not cause tao much temporal distortion due to the fact thatt he t em po is slow enough (quarter note = 50, at m. 98) that each and every notewil l be heard and easily processed, and, aiso due ta the fact that the 16th notesar e no t broken; there are no rests inserted to create an unpredictable figure.

Section D- m m . 107 -146

There are two parts in Section 0; mm. 107 - l35, and mm. 136 - 146.Section D is the middle of the piece, approximately near the 7'30" mark. With

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this in mind, a change in time signature seemed appropriate. In a way, it is alsoa change of pace. The halving of the beat unit from a quarter to an eighthrepresents an illusion to a quicker tempo. The time signature changes here takethe form of a palindrome: 9/8-5/8-7/8-6/8-13/8-6/8-7/8-5/8-9/8 . Itseems only fitting ta set these time signatures into a palindrome at the center ofthe work. Not only does this pattern repeat three tintes, thereby forming its ownpalindrome, but formally, the main sections of the piece form a palindrome.This will become apparent in the discussion of Sections Eand F.

The musical malerial in the three repetitions of the palindromic rhythmiccycles is very simiIar in that all three are based on the 'unison' figure from theprevious section. With each successive repetition, the 'unison' figure takes on anew timbre, and because of the simiIarity in pitch structure, the figures simplyexpand through addition. The section begins with the solo clarinet; the secondclarinet plays when the first clarinetist 'should' breathe, as the intent is to have aseamless musicalline until the fiute and oboe entry in mm. 113 - 114. The samefour 12-tone series are used as in the previous section, which provides a naturaland smooth continuation froID Section C ioto Section O. In mm. 116 - 124, in thefirst repetition of the rhythmic cycle, the upper strings, percussion and pianotake over and extend the 'unison' figure, but the sequence of pitches is not partof the 12-series used earlier, in mm. 107 - 115.

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In the second and final repetition of the rhythmic cycle, mm. 125 - 133, the brassand percussion enter with a starldy contrasting timbre. Despite the shift intimbre, the brass continues the extension of the 'unison' figure. The thirdrhythmic cycle ends in rn. 133, but the 'unison' figure continues into what seemsto he another repetition of the rhythmic cycle-the 9/8 and 5/8 in mm. 134 135-but another cycle does not begin. If the pattern of tirne signature changescould he aurally received and decoded, then the ear and mind would he fooledin predicting the continuation of a complete new cycle beginning in m. 134. Asthe 1unison' figure cornes ta a close, the second part of Section D begins, mm. 136-146.

The second part of Section D acts as a transi tion ta Section E. Alter thecacophonous ending of the first part of Section D, a more stable and calmer partis required in order to lead smoothly to Section E. In mm. 139 - 146, theforeground is represented by the oboe and muted trombone solo, doubled at theoctave, which serves to continue the section'5 emphasls of lines at the unison,while other instruments support the solo through small dynamic swells, towhich the percussion adds tremolos. This 'calm after the storm' also serves tolower the general register, 50 as to lead smoothly towards the low register at thebeginning of Section E.

One of the ways in which perceived tinte will he altered is caused by thetime signature changes. When the meter constantly shifts, the listener May feellost. Ornstein has found that "more 'organized' experiences were estimated asshorter than disorganized ones. In storage size terms, a situation which was

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'organized' would need less space in storage than a 'disorgani.zed' one."IOCompared ta the previous tinte signature (4/4), the listener bas no strong senseof the downbeat, making it difficult to predict or anticipate the nexl Beginningin mm. 107 - 115, perceived tinte maintains relatively close to 'cteck-tinte.' Thisbegins to change at m. 116 where the en tries of the woodwinds and percussionare unpredictable (in addition to the meter changes), and in the same manner,the entries of pitch patterns in the upper strings. The addition of layers, andincrease in activity in the percussion in mm. 125 - 135, will aiso cause thelistener's experienced time ta lengthen. Although the perceived tinte willlengthen, the amount will not he as great as in Sections A or B. AIso, the use of'unison' figures provides a sense of harmonie stability, with whieh the listenerwill feel eomfortable, even though the note patterns are chromatic and atonal. Inmm. 136 - 146, the passing of perceived tinte should gradually return back ta astable 'clock-time' due to these two elements: a solo doubled in octaves, and therelatively static activity in the background.

Sections E and F-mm.147 -159, mm. 160 -183

Beginning in f f i . 147, there is a retum ta figures similar to those heardpreviously in Section A. AlI of the rhythmic patterns employed in Section A (Seep. 57), are now involved in mm. 147 - 156. In m. 155, the flute, oboe and upper

\0 O m s t e ~ 77.

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strings continue the upward motion initiated by the brass. As the brass ends inm. 156, these higher pitched instruments continue the registraI a s c e n ~ in adifferent manner from the brass only in that the notes are slurred. This registraiascent only serves ta provide a smooth transition ta Section F.

In Section F, beginning in m. 160, there is a retum ta figures heard inSection B. The piano solo is in the upper register, prepared by the registraiascent in the previous section, and is supported by the crystal glasses, harmoniesin the strings and a low c in the double bass. The piano's registraI descent inmm. 167 -168 prepares the retum of the low figures previously heard in SectionA The muted Iow-brass figure, against which the continuation of the stringharmonies and crystal glasses are juxtaposed, descends chromatically with everyrepetition of the 'rhythmic pattern,' except for the first Acting more as a musical'link' than an object of juxtaposition to the low figures, is a muted trumpet thatdescends chromatically every measure. In mm. 172 - 176 the two violins, violaand cella play descending glissandi, which can be viewed. as a continuationand/or addition to the chromatically descending figures in the brass. In m. 175the two-note motive makes its final return as it concludes the work. Aninteresting event occurs rhythmically in mm. 176 to the end. Though linearlystructurally intact, the repetition of the two-note motives takes the form ofrhythmic pattern "d"(p. 57); therefore, in addition to rit. al Fine and decrescendo,there are greater rests between entries of the motive. The two-note motive

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appears less frequently through tinte, thereby aIso resembling rhythmic pattern1 /d":

" ,

J _ 114 R 1==--, Cf) f , 1I!!r - -1\ __ , \... - ;; 1 r;- ln f- - -" " ~ : ; r V ~ R \. n-

The work concludes with a final statement of the two-note motive played by themuted tuba.

Though the musical materials and events !n Sections E and F are almostidentical to those of Sections A and B, perceived lime will not he affected asmuch as the first hearing. It is because the musical events are so similar, that inthe 'second hearing' of these events, the listener will have already heard thematerial, and will he able to process the information far more quickly. Ornsteinbelieves that one way in which a "given stimulus situation is changed is by itsrepetition."11 He terms the repetition an 'automatic' stimulus situation. Whenrepeating a stimulus, Little memory space is needed (as the stimulus is alreadythere), and our awareness for new activities decreases. Therefore, there is Little,if any, distortion of perceived time in Sections E and F. An event that isperceptually interesting, though does not concern the manipulation of perceived

I l O m s t e i ~ 73.

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lime, is the very end. As the two-note motives become more sparse linearly andnon-linearly, the anticipation of the next becomes heightened. As the last twonote motive sounds, almost two complete silent measures are conducted. Thelistener is waiting for the next tuba entry, and is wondering i f there will beanother. Nonetheless, the piece ends as it started.

Relationships within global form

As mentioned earlier, palindrome plays a role in this piece. Palindrome,as a device, exists in Section D as an organization of tinte signature changes, andit aIso exists as a large-scale structural device of constraint ta provide an methodof recognition and ability to 1 folIow' the motion and progression of figureswithin the piece. Given this, the piece has an ABA' large--scaie forme One of themain determining factors of this form is the way in wruch pitch is used. In Aand A', the pitches are randomly chosen on the Most part, as opposed ta B,where the pitch selection follows a predetermined system.

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BibliographyBarry, Barbara R.. Musical Time: the sense ofarder. Stuyvesant, NY: PendragonPress, 1990.Boros, James. "Composing a Variable (H Transitory) Self-Brian Femeyhough inconversation with James Boros." Perspectives ofNew Music 28/2 (Win.19(4) 114 - 130.Boros, James. IIWhy Complexity? Part Two (Guest Editor's Introduction)."Perspectives afNew Music 32/1 (Win. 1994) 90 -101.Femeyhough, Brian. "ParaUel Universes." in Asthetik und Komposition: ZurAktualitat de r Darmstadter Ferienkursarbeit Dannstadter Beitrage 20

(Mainz, 19(4) 17 - 22.Femeyhough, Brian. "The Tactility of Tinte." Perspectives ofNew Music 31/1

(Win. 1993) 20 - 30.Friedman, William. About Time: Inventing the fourth Dimension. Cambridge, MA:

The MIT Press, 1990.Gabrielsson, Ali, Ed.. Action and Perception in Rhythm and Mlisic. Stockholm:Kungl. Musikaliska akademien, 1987.Gorman, Bernard S., and Wessman, Alden E., Eds.. The Personal Experience ofrime. New York: Plenum Press, 1977.Hartocollis, Peter. Time and Timelessness, ar, The Varieties ofTenlporal Experience.

New York: International Universities Press, Inc., 1983.Hasty, Christopher F.. Meler as Rhythm. New York: Oxford University Press,

1997.Kramer, Jonathan. TIte rime ofMllsic: new nleanilJgs, new temporalities, new listening

New Schinner 1988.

queez in art hock et

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