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Samul nori as Traditional: Preservation and Innovation in a South Korean Contemporary Percussion Genre

Author: Hesselink, Nathan Publication details: Ethnomusicology 48.3:405-39 (2004) Weblink: www.jstor.org

Music and Religious Identity in Counter-Reformation Augsburg, 1580–1630

Author: Fisher, Alexander Publication details: St. Andrews Studies in Reformation History. Aldershot: Ashgate Publishing, 2004. Weblink: https://www.routledge.com

20th Century Piano Album

Featured Faculty Composer: T. Patrick Carrabré Track 6. Scherzo No.2, The Elemental Wind Recording details: Alexander Tselyakov, piano Link

José Maceda and the Paradoxes of Modern Composition in Southeast Asia

Author: Tenzer, Michael Publication details: Ethnomusicology 47/1: 93-120 Weblink: http://www.jstor.org

Kil kunak ch’ilch’ae (Seven-Stroke Road Military Music) Rhythmic Pattern: P’ungmul and the Bridging of the North-South Divide

Author: Hesselink, Nathan Publication details: Tongyang ŭmak [Asian Music] 25:111-27 (2003)

The Craft of Hybrid Composition: Meter, Tonality, and Grouping in Michael Torke’s ‘Adjustable Wrench’

Author: Roeder, John Publication details: Perspectives of New Music 41/2: 120-158. Weblink: https://www.jstor.org

Beat-Class Modulation in Steve Reich’s Music

Author: Roeder, John Publication details: Music Theory Spectrum 25/2: 275 – 304 Weblink: http://www.jstor.org Abstract: A beat-class model of rhythm, employed by Cohn and others to analyze textural form in Steve Reich’s early phase-shifting compositions, is here enlarged to embrace the concepts of beat-class “tonic” and “mode,” defined formally by analogy to pitch-class tonality. Using these concepts, analyses […]