The state of contemporary music is dizzyingly diverse in terms of style, media, traditions, and techniques. How have trends in music developed over the past decades? Music Composition in the 21st Century is a guide for composers and students that helps them navigate the often daunting complexity and abundance of resources and influences that confront them as they work to achieve a personal expression. From pop to classical, the book speaks to the creative ways that new composers mix and synthesize music, creating a music that exists along a more continuous spectrum rather than in a series of siloed practices. It pays special attention to a series of critical issues that have surfaced in recent years, including harmony, the influence of minimalism, the impact of technology, strategies of "openness," sound art, collaboration, and improvisation. Robert Carl identifies an emerging common practice that allows creators to make more informed aesthetic and technical decisions and also fosters an inherently positive approach to new methods.

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.

Unquestionably the founding work of minimalism in musical composition, Terry Riley's In C (1964) challenges the standards of imagination, intellect, and musical ingenuity to which "classical" music is held. Only one page of score in length, it contains neither specified instrumentation nor parts. Its fifty-three motives are compact, presented without any counterpoint or evident form. The composer gave only spare instructions and no tempo. And he assigned the work a title that's laconic in the extreme. At the same moment of its composition, Elliott Carter was working on his Concerto for Piano, a work Stravinsky was to hail as a masterpiece. Having almost completed Laborinthus II, Luciano Berio would soon start the Sinfonia. Karlheinz Stockhausen had just finished Momente. In context of these other works, and of the myriad of compositional styles and trends which preceded them, In C stands the whole idea of musical "progress" on its head.
Forty years later, In C continues to receive regular performances every year by professionals, students, and amateurs, and has had numerous recordings since its 1968 LP premiere. Welcoming performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western, these recordings range from the Chinese Film Orchestra of Shanghai -- on traditional Chinese instruments -- to the Hungarian 'European Music Project' group, joined by two electronica DJs manipulating the Pulse. In C rouses audiences while all the while projecting an inner serenity that suggests Cage's definition of music's purpose -- "to sober and quiet the mind, thus making it susceptible to divine influence."
Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. He examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination. By examining the work's significance through discussion with performers, composers, theorists, and critics, Robert Carl explores how the work's emerging performance practice has influenced our very ideas of what constitutes art music in the 21st century.

The state of contemporary music is dizzyingly diverse in terms of style, media, traditions, and techniques. How have trends in music developed over the past decades? Music Composition in the 21st Century is a guide for composers and students that helps them navigate the often daunting complexity and abundance of resources and influences that confront them as they work to achieve a personal expression. From pop to classical, the book speaks to the creative ways that new composers mix and synthesize music, creating a music that exists along a more continuous spectrum rather than in a series of siloed practices. It pays special attention to a series of critical issues that have surfaced in recent years, including harmony, the influence of minimalism, the impact of technology, strategies of "openness," sound art, collaboration, and improvisation. Robert Carl identifies an emerging common practice that allows creators to make more informed aesthetic and technical decisions and also fosters an inherently positive approach to new methods.

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand.

The United States Geological Survey (USGS) is a scientific organization created in 1879, and is part of the U.S. government. Their scientists explore our environment and ecosystems, to determine the natural dangers we are facing. The agency has over 10,000 employees that collect, monitor, and analyze data so that they have a better understanding of our problems. The USGS is dedicated to provide reliable, investigated information to enhance and protect our quality of life. This is one of their bulletins.

Long out of print and hard to find, this is the most celebrated book on eclipses of the last seventy years. In this book, learn the unique astronomical factors that create eclipses and why some eclipses are total while others are not. Learn how the Chaldeans discovered the Saros cycle in the sixth century BC, which is still in use today. Learn how the Greeks discovered the Metonic cycle. Find out how the Saros cycle is used in forecasting the effects of eclipses. Jansky gives the astrological key for all 19 of the Saros series. The author uses his understanding of eclipse mechanics in analysis. He uses the twelve houses of the chart, planets conjunct and opposed, the Saros series, fixed stars conjunct the eclipse as well as stars rising or setting on the horizon (ascendant/descendant), the planetary ruler, and the path of the Moon's shadow (the umbra) as it races across the earth during the eclipse itself. Jansky's interpretation of eclipses is rooted in Transactional Analysis (what I do to you becomes what you do to me, etc.), which, astrologically, is the study of polarities, which is what lunar and solar eclipses literally represent, and how these polarities, expressed as opposing signs and houses, can be resolved in terms of human relationships. Jansky delves into the astrological duration of an eclipse, prenatal eclipses, eclipses in rectification and eclipses and health. For case studies he tells of an eclipse-driven corporate crisis at his employer and how it impacted him, his fellow employees, and the management. In the data section, solar eclipses for the 20th century: Date, degree of the zodiac, total, partial or annular, and the Saros number. Also, longitudes of major fixed stars and general and medical bibliographies. A comprehensive book on eclipses. A must-have.

The United States Geological Survey (USGS) is a scientific organization created in 1879, and is part of the U.S. government. Their scientists explore our environment and ecosystems, to determine the natural dangers we are facing. The agency has over 10,000 employees that collect, monitor, and analyze data so that they have a better understanding of our problems. The USGS is dedicated to provide reliable, investigated information to enhance and protect our quality of life. This is one of their bulletins.