JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Music Library Associationis collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 62.122.72.48 on Wed, 11 Jun 2014 02:58:36 AM All use subject to JSTOR Terms and Conditions series), each movement develops around motivic fragments that return periodically to function in a structural manner. Thus one can easily put aside the serial technique and listen to the musical line unfolding in a familiar symphonic manner.Occasionally some effects, such as fluttertonguing, appear, but they are never used to sustain interest for the sake of novelty. The pieces are not excessively difficult, though occasional rhythmic nuances seem excessively fussy. When one is playing an unaccompanied solo line, containing frequent metric changes and syncopations, it seems almost impossible to project to an audience a long-sustained note in duple meter that cuts off two-thirds through a beat. Be that as it may, these compositions should afford pleasure for both the performer and the analyst. Milko Kelemen: Study for Flute Alone. Wiesbaden: Impero Verlag; U.S.A.: Theodore Presser, Bryn Mawr, Pa., 1964. [Score, 4 p., $1.50]A note appended to the score of this study states that Kelemen is "the best known among the younger Yugoslav composers." This short work, written in 1959, introduces "a new experiment in musical notation," where "the breath of the player determines the basic tempo of the piece." The composition is divided into a series of relatively long phrases, each of which is played in one breath. Within each breath-length, isolated notes and rests are performed in exact relationship to each other, but this relationship varies with each breath-length: the fewer the notes and rests to be performed within each breath, the longer each note can be held. Because of this variable in the tempo, Kelemen has not indicated time beats by notating quarters, eighths, etc. He writes all his pitches as black note-heads with signs placed over them to indicate the duration of the time values: "," for 1 beat, ".*" for 2, "_" for 3, etc. Thus, before the piece can be performed, the notational code must be memorized.
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