Aspects of form and its significance in contemporary music

References

• Abbate, Carolyn [1991] Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, Princeton: Princeton University Press.
   Google Scholar
• Auslander, Philip [1997] From Acting to Performance: Essays in Modernism and Postmodernism, London and New York: Routledge.
   Google Scholar
• Auslander, Philip [1999] Liveness: Performance in a Mediatized Culture, London and New York: Routledge.
   Google Scholar
• Barrett, Richard [1985–6] Ne songe plus à fuir, London: United Music Publishers.
   Google Scholar
• Barrett, Richard [1995] ‘Critical/Convulsive’, Contemporary Music Review XII/I: 133–46.
   Google Scholar
• Boros, James [1995] ‘A “New Totality”?’, Perspectives of New Music XXXI 11/1 2: 538–53.
   Google Scholar
• Boros, James [1996] ‘A Response to Lerdahl’, Perspectives of New Music XXXIV/1: 252–8.
   Web of Science ®Google Scholar
• Bujic, Bojan [1997] ‘Delicate Metaphors’, Musical Times CXXXVIII/1852: 16–22.
   Google Scholar
• Cross, Keith [1992] ‘Sound/Form and the Traditions of Hearing’, Resonance: An L.M.C. Supplement: 1–8.
   Google Scholar
• Docherty, Thomas [ed.] [1993] Postmodernism: A Reader, Hemel Hempstead, Hertfordshire: Harvester Wheatsheaf.
   Google Scholar
• Foster, Hal [ed.] [1985] Postmodern Culture, London: Pluto.
   Google Scholar
• Fox, Christopher [1995] ‘Music as Fiction: a consideration of the work of Richard Barrett’, Contemporary Music Review XIII/1: 147–57.
   Google Scholar
• Grossberg, Lawrence [ed.] [1996] ‘On postmodernism and articulation: An Interview with Stuart Hall’, in David Morleyand Kuan-Hsing Chen (eds.) Stuart Hall: Critical Dialogues in Cultural Studies, London: Routledge, pp.131–50.
   Google Scholar
• Harvey Jonathan [1979] ‘Brian Ferneyhough’, Musical Times CXX/1639: 723–8.
   Google Scholar
• Hutcheon, Linda [1988] A Poetics of Postmodernism: History, Theory, Fiction, New York and London: Routledge.
   Google Scholar
• Jencks, Charles [1986] What is Post-Modernism?, London: Academy Editions.
   Google Scholar
• Kaye, Nick [1994] Postmodernism and Performance, London and New York: MacMillan and St. Martin's Press.
   Google Scholar
• Kramer, Lawrence [1990] Music as Cultural Practice 1800–1900, Berkeley: University of California Press.
   Google Scholar
• Kramer, Lawrence [1993] ‘Music Criticism and the Postmodernist Turn: In Contrary Motion with Gary Tomlinson’, Current Musicology LIII: 25–35.
   Google Scholar
• Kramer, Lawrence [1995] Classical Music and Postmodern Knowledge, Berkeley: University of California Press.
   Google Scholar
• Laws, Catherine [1997] ‘Richard Barrett's Ne songe plus à fuir: Beckett in Music Translation?’, in Samuel Beckett Today/Aujourd'hui VI: 289–302.
   Google Scholar
• Lerdahl, Fred [1996] ‘Tonality and Paranoia: A Reply to Boros’, Perspectives of New Music XXXIV/1: 242–51.
   Web of Science ®Google Scholar
• Lim, Liza [1991] ‘The Body: transcribes the text, inscribes the sound’, Sounds Australian XXIX: 21–4.
   Google Scholar
• Lyotard, Jean-François [1984] The Postmodern Condition: A Report on Knowledge, trans. Geoff Bennington and Brian Massumi, Manchester: Manchester University Press.
   Google Scholar
• McClary, Susan [1991] Feminine Endings: Music, Gender, and Sexuality, Minneapolis: University of Minnesota Press.
   Google Scholar
• McClary, Susan [2000] Conventional Wisdom: The Content of Musical Form, Berkeley, Los Angeles and London: University of California Press.
   Google Scholar
• McHale, Brian [1987] Postmodernist Fiction, London and New York: Routledge.
   Google Scholar
• Moravec, Paul and Beaser, Robert [eds.] [1992] Contemporary Music Review VI/2: ‘New Tonality’, Switzerland: Harwood Academic Publishers.
   Google Scholar
• Pasler, Jann [1993] ‘Postmodernism, narrativity, and the art of memory’, Contemporary Music Review VII: 3–32.
   Google Scholar
• Stocken, Frederick [1989] ‘Musical post-modernism without nostalgia’, Musical Times CXXX/1759: 536–7.
   Google Scholar
• Subotnik, Rose Rosengard [1991] Developing Variations: Style and Ideology in Western Music, Minneapolis: University of Minnesota Press.
   Google Scholar
• Subotnik, Rose Rosengard [1996] Deconstructive Variations: Music and Reason in Western Society, Minneapolis and London: University of Minnesota Press.
   Google Scholar
• Sweeney-Turner, Steve [1995] ‘Speaking Without Tongues’, Musical Times CXXXVI/1826: 183–6.
   Google Scholar
• Sweeney-Turner, Steve [1995] ‘Weariness and Slackening in the Miserably Proliferating Field of Posts’, Musical Times CXXXVI/1833: 599–601.
   Google Scholar
• Temple, Mary Kay [1996] ‘War inna babbelogue’, Musical Times CXXXVII/1841: 5–9.
   Google Scholar
• Tomlinson, Gary [1993] ‘Musical Pasts and Postmodern Musicologies: A Response to Lawrence Kramer’, Current Musicology LIII: 18–24.
   Google Scholar
• Tomlinson, Gary [1993] ‘Gary Tomlinson Responds’, Current Musicology Llll: 36–40.
   Google Scholar
• Toop, Richard [1985] ‘Brian Ferneyhough in Interview’, Contact XXIX: 4–19.
   Google Scholar
• Toop, Richard [1988] ‘Four Facets of the New Complexity’, Contact XXXII: 4–50.
   Google Scholar
• Toop, Richard [1993] Liner notes for the Elision Ensemble CD of Richard Barrett's music, Etcetera KTC 1167.
   Google Scholar
• Vattimo, Gianni [1988] The End of Modernity, trans. J. R. Snyder, Oxford: Polity Press.
   Google Scholar
• Williams, Alastair [1997] New Music and the Claims of Modernity, Aldershot: Ashgate.
   Google Scholar
• Williams, Alastair [2000] ‘Musicology and Postmodernism’, Music Analysis XIX/3: 385–407.
   Google Scholar
• Zurbrugg, Nicholas [1993] The Parameters of Postmodernism, London: Routledge.
   Google Scholar