Issue 2    spring 2000

Robert Morris     Cage Contemplating/Contemplating Cage
Tom Baker     ‘Conic Sections No. 1’ by Evan Parker: Analysis for four readers
Jonathan D. Kramer     Barney Childs
Steven D. Goodman     Bad Timing, Bowles, and Between
George Quasha     Axial Postings
______________ Preverb Posters
Kyle Gann     Navigating the Infinite Web of Pitch Space
Robert Paredes     Dangling Reflections on ‘The Bewitched’
Tildy Bayar     Dirt and Toothpaste, or, on the Problem of Being a Self in Modern Life (notes on Allan Kaprow)
______________ Some Notes on Some Pieces by Sara Roberts
______________ Gary Hill’s Video Installation ‘Circular Breathing’
David Crilly     Wittgenstein, Music, and Language Games
Jon Radwan     George Campbell and the Rhetoric of Art: Persuasion Through Music
Charles Kronengold     Musical Constructions of Public and Private Space: The “Tender Force” of Soft Soul
Leslie Kearney     Sad Songs and Sudden Danger, or, Marcia’s Balls
Warren Burt     Georgina Born: IRCAM, Boulez, and the Institutionalization of the Avant-Garde
Peter Monaghan     A Conversation with George Lewis
George Quasha     Blowing One’s Own Bone, or Truth Shot Through Me Like A Whistle, She Said
Chris Mann     And the question
Mary Lee Roberts     Jim Randall’s ‘Intimacy’
Benjamin Boretz     Notes for Open Space CD 10
Elaine Barkin     Reexperiencing ‘Language ,as a music’ Revisited
Warren Burt     Too Many New CDs (Mini Reviews)
Lydia Hamessley     Audible Traces: Introductions
Tildy Bayar     ‘Not Before Seeing’ Marc Applebaum’s ‘S-Tog for Sound Sculptures’
Eric Lyon     Gordon Mumma
Ross Feller     Strategic Defamiliarization: The Process of Difficulty in Brian Ferneyhough’s Music
Larry Polansky     Ensembles of Note / Neighborhoods of Note (2 scores)
Benjamin Boretz     Reflections on Cardew and Wolpe: Vignettes of Old Masters I
Charles Stein     The Hermit / Counter Seed / Seed Poems / A Note on The Hermit