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Minimal Challenges: Process Music and the Uses of Formalist Analysis
13 references·5 citing·35 second hop
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References

  • 2004Music—Drastic or Gnostic?550 cited
  • 2004How We Got Out of Analysis, and How to Get Back In Again189 cited
  • 1992Cognitive constraints on compositional systems165 cited
  • 2005Repeating Ourselves160 cited
  • 1992Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music146 cited
  • 2004Beyond Structural Listening?Postmodern Modes of Hearing145 cited
  • 1993Disciplining music: musicology and its canons139 cited
  • 1993Masculine Discourse in Music Theory104 cited
  • 2003Beat-Class Modulation in Steve Reich's Music91 cited
  • 1997Fuzzy Extensions to the Theory of Contour68 cited
  • 1993The Minimalist Aesthetic in the Plastic Arts and in Music55 cited
  • 1997Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies54 cited
  • 2007Musical Form and Transformation45 cited

Cited by

  • 2011Extraordinary Measures108 cited
  • 2014‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City, 1966–196839 cited
  • 2009Analysis of Emergent Beat-Class Sets in Steve Reich's "Clapping Music" and the Yoruba Bell Timeline

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39 cited
  • 2023On African Music26 cited
  • 2011Introduction21 cited