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Perspectives of New Music | 1964
Arthur Berger
IT IS NOT SURPRISING that a preoccupation with new terminology among composer-theorists should be encountered with skepticism in certain quarters and that such reaction should unfortunately deflect attention from the substantive issues. What is, on the other hand, very surprising indeed is the fact that an aggravation of the problem of verbal expression should fail to be recognized as an inevitable byproduct of the emergence of PERSPECTIVES OF NEW MUSIC within the ambience of todays heightened self-awareness and-why be apologetic about it-persistent self-analysis. That a by-product of this order was anticipated by the founding editors is apparent from the following remarks in their statement of objectives in Vol. 1, No. 1 (p. 5):
Perspectives of New Music | 1963
Arthur Berger
Archive | 2002
Arthur Berger
Perspectives of New Music | 1978
Jane Coppock; Arthur Berger
Perspectives of New Music | 1985
Arthur Berger
Perspectives of New Music | 1976
Arthur Berger
Archive | 2002
Arthur Berger
Notes | 1999
Martin Schreiner; Arthur Berger; Martin Boykan; David Rakowski
Notes | 1993
David W. Moore; Henry Cowell; Ernst Bacon; Arthur Berger; Ben Weber; Seymour Shifrin
Perspectives of New Music | 1991
Arthur Berger
