For the BirdsM. Boyars, 1981 - 239 Seiten One of America's great twentieth-century composers in a series of wide-ranging conversations. |
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Seite 39
... sound . ' J.C .: I didn't see why it was necessary to give preference to sounds . D.C .: You mentioned Webern - you followed his example . J.C .: Certainly , but not in the same way as the ' post - Webernians ' . D.C .: What do you mean ...
... sound . ' J.C .: I didn't see why it was necessary to give preference to sounds . D.C .: You mentioned Webern - you followed his example . J.C .: Certainly , but not in the same way as the ' post - Webernians ' . D.C .: What do you mean ...
Seite 40
... sounds ? Is that indeed what you said to yourself ? J.C .: Yes , and so you understand how I was led to rethink structure . If silence does not exist , we have only sounds . But at that moment , you begin to realize that there is no ...
... sounds ? Is that indeed what you said to yourself ? J.C .: Yes , and so you understand how I was led to rethink structure . If silence does not exist , we have only sounds . But at that moment , you begin to realize that there is no ...
Seite 137
... sounds are manipulated in front of an audience and that they cause a certain balance of cause and effect to appear between the instrumentalist and the resulting sound . What would bother us in ordinary electronic music would be the tape ...
... sounds are manipulated in front of an audience and that they cause a certain balance of cause and effect to appear between the instrumentalist and the resulting sound . What would bother us in ordinary electronic music would be the tape ...
Inhalt
Note on the Books History | 7 |
Forward I | 64 |
Third Interview | 101 |
Urheberrecht | |
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