What Next?
Identifieur interne : 000867 ( Main/Exploration ); précédent : 000866; suivant : 000868What Next?
Auteurs : Marvin Adler [États-Unis]Source :
- Music educators journal [ 0027-4321 ] ; 1970-04.
English descriptors
- Teeft :
- Accurate accounts, Acoustical concept, Additional element, Additional refinement, Additional sound, Additional variations, Aesthetic experience, Aesthetic judgments, Aleatory music, Alexander color organ, American influences, American instruments, Ancient greeks, Anton compositions, Arnold schoenberg, Arthur fiedler, Article instruments, Assorted croaks, Average musicians, Bela bartok, Boring kind, Certain composers, Certain music, Certain styles, Charles ives, Closer relationships, Columbia university, Comprehensive musicianship, Computer music, Computerized tapes, Concord sonata, Constant threats, Contemporary composers, Contemporary music project, Conventional happenings, Delay mechanisms echo devices, Different instrument, Different patterns, Early futurists, Early gregorian chant, Eastman school, Edgard varese, Electronic creation, Electronic music, Electronic music center, Electronic synthesizers, Elevator music, Entire orchestra, Exciting experience, Favorite songs, Further impetus, Further research, Future medicine chests, George antheil, Glasslike sonorities, Grand opera, Greater contrasts, Greater power, Henry cowell, Higher threshold, Iannis xenakis, Igor stravinsky, Infinite combinations, Infinite number, Instrumental possibilities, Intopaintings playby, Jazz groups, John work, Kaleidoscopically work, Karlheinz stockhausen, Latter case, Lights change, Long rehearsals, Luigi russolo, Major college, Marvin adler, Melodic properties, Milton babbitt, Minor departures, Moby grape, Modern music, Modern tape techniques, Moog synthesizer, More control, Movie music, Much disparity, Multisensory stimulation, Music education, Music educators, Music educators journal, Music teaching, Music therapy, Music today, Musical gestalts, Musicological knowledge, Narrow view, Nauseating effects, Need stimuli, Nostalgic effects, Notational systems, Occidental music, Olivier work, Other components, Other hand, Other instruments, Other method, Other times, Otto work, Overall gestalt, Overtone series, Permanent part, Pierre pioneer work, Possible direction, Present rate, Present time, Primitive influence, Private study, Programing techniques, Proper electromagnetic surface, Recent seminar, Regular series, Rhythmic breakthrough, Rhythmic complexity, Rhythmic comprehension, Rhythmic interest, Rhythmic performance, Rhythmic phrases, Rock ensembles, Rock groups, Same time, School music, Senses technology, Serial technique, Several composers, Similar results, Sloped electromagnetic, Small ways, Solidstate devices, Sonority, Sound patterns, Special lights, Standard limitations, Standard notational practice, Stylistic changes, Synthesizer, Tanglewood symposium, Tape music, Teachers college, Technological progress, Thrilling advances, Tonal combinations, Tonal masses, Tonal qualities, Tone poems, Traditional notation, Traditional works, Ubiquitous tranquilizers, Undergraduate work, Unimaginable beauty, Verbal descriptions, Verbal directions, Vere disagreements, Vigorous pulsations, Yale seminar, York city, Young student.
Url:
DOI: 10.2307/3392782
Affiliations:
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Le document en format XML
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type="wicri:Area/Main/Curation">000867</idno><idno type="wicri:Area/Main/Exploration">000867</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">What Next?</title><author wicri:is="90%"><name sortKey="Adler, Marvin" sort="Adler, Marvin" uniqKey="Adler M" first="Marvin" last="Adler">Marvin Adler</name><affiliation wicri:level="3"><country>États-Unis</country><placeName><settlement type="city">New York</settlement><region type="state">État de New York</region></placeName><wicri:orgArea>Instructor, Department of Music and Music Education, Teachers College, Columbia University</wicri:orgArea></affiliation></author></analytic><monogr></monogr><series><title level="j">Music educators journal</title><idno type="ISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1970-04">1970-04</date><biblScope unit="volume">56</biblScope><biblScope unit="issue">8</biblScope><biblScope unit="page" from="37">37</biblScope><biblScope unit="page" to="39">39</biblScope></imprint><idno type="ISSN">0027-4321</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0027-4321</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Accurate accounts</term><term>Acoustical concept</term><term>Additional element</term><term>Additional refinement</term><term>Additional sound</term><term>Additional variations</term><term>Aesthetic experience</term><term>Aesthetic judgments</term><term>Aleatory music</term><term>Alexander color organ</term><term>American influences</term><term>American instruments</term><term>Ancient greeks</term><term>Anton compositions</term><term>Arnold schoenberg</term><term>Arthur fiedler</term><term>Article instruments</term><term>Assorted croaks</term><term>Average musicians</term><term>Bela bartok</term><term>Boring kind</term><term>Certain composers</term><term>Certain music</term><term>Certain styles</term><term>Charles ives</term><term>Closer relationships</term><term>Columbia university</term><term>Comprehensive musicianship</term><term>Computer music</term><term>Computerized tapes</term><term>Concord sonata</term><term>Constant threats</term><term>Contemporary composers</term><term>Contemporary music project</term><term>Conventional happenings</term><term>Delay mechanisms echo devices</term><term>Different instrument</term><term>Different patterns</term><term>Early futurists</term><term>Early gregorian chant</term><term>Eastman school</term><term>Edgard varese</term><term>Electronic creation</term><term>Electronic music</term><term>Electronic music center</term><term>Electronic synthesizers</term><term>Elevator music</term><term>Entire orchestra</term><term>Exciting experience</term><term>Favorite songs</term><term>Further impetus</term><term>Further research</term><term>Future medicine chests</term><term>George antheil</term><term>Glasslike sonorities</term><term>Grand opera</term><term>Greater contrasts</term><term>Greater power</term><term>Henry cowell</term><term>Higher threshold</term><term>Iannis xenakis</term><term>Igor stravinsky</term><term>Infinite combinations</term><term>Infinite number</term><term>Instrumental possibilities</term><term>Intopaintings playby</term><term>Jazz groups</term><term>John work</term><term>Kaleidoscopically work</term><term>Karlheinz stockhausen</term><term>Latter case</term><term>Lights change</term><term>Long rehearsals</term><term>Luigi russolo</term><term>Major college</term><term>Marvin adler</term><term>Melodic properties</term><term>Milton babbitt</term><term>Minor departures</term><term>Moby grape</term><term>Modern music</term><term>Modern tape techniques</term><term>Moog synthesizer</term><term>More control</term><term>Movie music</term><term>Much disparity</term><term>Multisensory stimulation</term><term>Music education</term><term>Music educators</term><term>Music educators journal</term><term>Music teaching</term><term>Music therapy</term><term>Music today</term><term>Musical gestalts</term><term>Musicological knowledge</term><term>Narrow view</term><term>Nauseating effects</term><term>Need stimuli</term><term>Nostalgic effects</term><term>Notational systems</term><term>Occidental music</term><term>Olivier work</term><term>Other components</term><term>Other hand</term><term>Other instruments</term><term>Other method</term><term>Other times</term><term>Otto work</term><term>Overall gestalt</term><term>Overtone series</term><term>Permanent part</term><term>Pierre pioneer work</term><term>Possible direction</term><term>Present rate</term><term>Present time</term><term>Primitive influence</term><term>Private study</term><term>Programing techniques</term><term>Proper electromagnetic surface</term><term>Recent seminar</term><term>Regular series</term><term>Rhythmic breakthrough</term><term>Rhythmic complexity</term><term>Rhythmic comprehension</term><term>Rhythmic interest</term><term>Rhythmic performance</term><term>Rhythmic phrases</term><term>Rock ensembles</term><term>Rock groups</term><term>Same time</term><term>School music</term><term>Senses technology</term><term>Serial technique</term><term>Several composers</term><term>Similar results</term><term>Sloped electromagnetic</term><term>Small ways</term><term>Solidstate devices</term><term>Sonority</term><term>Sound patterns</term><term>Special lights</term><term>Standard limitations</term><term>Standard notational practice</term><term>Stylistic changes</term><term>Synthesizer</term><term>Tanglewood symposium</term><term>Tape music</term><term>Teachers college</term><term>Technological progress</term><term>Thrilling advances</term><term>Tonal combinations</term><term>Tonal masses</term><term>Tonal qualities</term><term>Tone poems</term><term>Traditional notation</term><term>Traditional works</term><term>Ubiquitous tranquilizers</term><term>Undergraduate work</term><term>Unimaginable beauty</term><term>Verbal descriptions</term><term>Verbal directions</term><term>Vere disagreements</term><term>Vigorous pulsations</term><term>Yale seminar</term><term>York city</term><term>Young student</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader></TEI><affiliations><list><country><li>États-Unis</li></country><region><li>État de New York</li></region><settlement><li>New York</li></settlement></list><tree><country name="États-Unis"><region name="État de New York"><name sortKey="Adler, Marvin" sort="Adler, Marvin" uniqKey="Adler M" first="Marvin" last="Adler">Marvin Adler</name></region></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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