Image
Complete Citation:
Albèra, Philippe. “Mensch und Maschine.” Dissonanz (2001): 46-47.
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Almen, Byron, and Robert Hatten. 2012. “Narrative Engagement with Twentieth -Century Music: Possibilities and Limits.” In Music and Narrative since 1900, edited by Michael Klein and Nicholas Reyland, 59--85. Bloomington, IN: Indiana University Press, 2012.Source: Chapter in Book
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Baron, Carol. “Meaning in the Music of Charles Ives.” In Metaphor: A Musi-cal Dimension. Australian studies in the history, philosophy, and social studies of music, 37-50. Sydney, Australia: Currency Press, 1991.Source: Chapter in Book
Reprints:
Baron, Carol. “Meaning in the Music of Charles Ives.” In <i>Musicology: A Book Series</i>, 15. Basel: Gor-don and Breach, 1994.
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Bergerson, Sister Gregor, O.S.B. “Ives in High School.” Lecture--demonstration, Ives at Minnesota, University of Minnesota, Minneapolis, Minnesota, May 7, 1970.Source: Lecture
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Complete Citation:
“The early years of Charles Ives.” In Timeless relevance: the Keyboard Magazine Columns, 1975-1989, edited by Elon Burge. Chelsea, Québec: Chelsea Books, 2018.VI. Topical Studies
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Complete Citation:
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Reprints:
Burger, Peter. <i>Theorie der Avantgarde</i>. Frankfurt am Main: Suhrkamp, 2013.
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<i>The Unan-swered Question </i>and <i>Central Park in the Dark </i>are chosen for consider-ation. Each is analyzed by five basic listening dimensions: timbre, pulse, pitch height space, movement, and intensity.
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Complete Citation:
Christensen, Erik. The Musical Timespace: A Theory of Music Listening. Alborg, Denmark: Alborg University Press, 1996.Source: Book
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