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CHAPTER 28
New Directions
This final chapter introduces the student to a wide range of topics: explorations of texture, timbre, and tuning;
indeterminacy; minimalism; and electronic and computer music. Most of these topics contain sub–topics that
acquaint the student with terminology that may very well be unfamiliar. Each topic focuses on the discussion of
directions not covered in Chapters 28 and 29, or directions that have emerged since 1945. We cannot overemphasize
the importance of supplementing this material with recordings and, if possible, live performances in class or in the
concert hall.
This material does not lend itself to exercises of the sort that are found in the other chapters of this book. Instead, the
exercises emphasize the recollection of factual material to a greater degree, and to that extent the chapter necessarily
has much in common with a music history text. But it also provides a number of practical suggestions for analysis
and composition projects that are similar to the ones included in Chapters 28 and 29, and which we hope will
provide a positive ending to the semester.
Answers to Selected Exercises
Exercise 28-1
A. 1. prepared piano
2. just intonation
3. quarter tone
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_______________________ _______________________________
(section) (name)
Chapter 28 Quiz
A. Given the title of one of the works discussed in Chapter 28, identify the composer by using the list below:
a. John Cage d. Philip Glass g. Terry Riley
b. George Crumb e. Paul Lansky h. Karlheinz Stockhausen
c. Mario Davidovsky f. Krzysztof Penderecki
1. Makrokosmos, Volume I (1972) _____
2. Threnody for the Victims of Hiroshima (1960) _____
3. In C (1960) _____
4. Notjustmoreidlechatter (1988) _____
5. Einstein on the Beach (1975) _____
6. Studie II (1954) _____
7. Synchronisms No. 6 (1970) _____
8. 4’33” (1952) _____
B. Given the composer and title of one of the works discussed in Chapter 28, match the work with the most
appropriate term in the list below:
a. experimental music e. process music h. sprechstimme
b. hyperinstrument f. real–time interaction i. tape loop
c. micropolyphony g. spatially–conceived composition j. theatre music
d. modular analog synthesizer
1. Steve Reich, Come Out (1966) _____
2. John Cage, Imaginary Landscape No. 4 (1951) _____
3. Arnold Schoenberg, Pierrot lunaire (1912) _____
4. György Ligeti, Atmosphères (1961) _____
5. Igor Stravinsky, L’Histoire du soldat (1918) _____
6. Edgard Varèse, Poème électronique (1948) _____
7. Morton Subotnick, The Wild Bull (1968) _____
8. Pierre Boulez, Répons (1981) _____
9. Tod Machover, Brain Opera (1996) _____
10. Steve Reich Piano Phase (1967) _____
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Key for Chapter 28 Quiz
A. 1. b
2. f
B. 1. i
2. a