Music Examples
2.1Claude Debussy, ‘Voiles’ (1909/10) from Preludes Book I, bb.1–9.
2.2Arnold Schoenberg, Sechs Kleine Klavierstucke, Op. 19 (1911), ii, bb.1–4.
3.1Vinko Globokar, Oblak Semen (1996), fig 1–7. © 1996 Editions Durand. Reproduced by permission of Hal Leonard Europe BV (Italy). All rights reserved.
3.2Coreen Morsink, Andromache’s Recitativo, Aria and Subtext (2010), bb.99–122. Reproduced with permission.
3.3Paul Archbold, Zechstein (2016), bb.57–9. Reproduced with permission.
3.5Bryn Harrison, Open 2 (2001), bb.1–18. Reproduced with permission.
3.6Pierluigi Billone, Equilibrio–Cerchio (2014), opening. Reproduced with permission.
7.1Two voicings of a chord from Igor Stravinsky, The Rite of Spring (1911–13), 4 bb. before fig. 13.
8.1György Ligeti, Le Grand Macabre (1974–7, rev. 1996), fig. 50, vocal cadenza. Reproduced by permission of Schott Music Ltd. All rights reserved.
8.2Meredith Monk, ‘Slide’ (1972) from Our Lady of Late, opening. Ink on printed transparentised paper. Reproduced by permission of the Museum of Modern Art/Scala, Florence.
8.3Hans Abrahamsen, Let Me Tell You (2013), bb.6–11, soprano part. Copyright © 2013 Edition Wilhelm Hansen AS, Copenhagen. Reproduced by permission of Hal Leonard Europe Ltd.
12.1Christopher Fox, Reeling (1983), opening. © Christopher Fox.
12.2John Cage, Aria (1958), opening. Reproduced by permission of Edition Peters.
12.3Christopher Fox, Generic Composition #5 (1999–2001), opening. © Christopher Fox.
12.4Christopher Fox, Chromascope (2005), first three matrices. © Christopher Fox.
12.5Claudia Molitor, untitled (fizzy paintings make me happy) (2007), p. 2. Reproduced by permission of Claudia Molitor.
12.6Christian Wolff, ‘Stones’, Prose Collection (1972). Reproduced by permission of Christian Wolff.
12.7John Lely, The Harmonics of Real Strings (2006). Reproduced by permission of John Lely.
12.8Christopher Fox, Hearing not thinking (2006–8), opening, bass drum part. © Christopher Fox.
13.1Frank Denyer, The Fish That Became the Sun (1991–4), fig. 21. Reproduced by permission of Frank Denyer.
15.1José Maceda, Ugnayan (1974), ending. Reproduced by permission of University of the Philippines Center for Ethnomusicology.
15.2Raymond Yiu, Jieshi (2011), fig. F, string players operating according to the qin part, independently from each other.
15.3Jieshi, before fig. N, string players operating in synchronisation.
15.4Jieshi, before fig. C, string players mimicking solo qin gesture.
