The Evolution of Elliott Carter's Rhythmic Practice

Setting the Pace: The Role of Speeds in Elliott Carter's A Mirror on Which to Dwell

“…Bernard's suggestion that Carter's method of integrating rhythmic innovation with pitch structure`is hardly formulaic' is amply borne out in the two songs examined here, where speeds are associated with set-classes in`Anaphora' and with pitch intervals in`Sandpiper'. 33 Nor is the relationship between speed and timbre and articulation prescribed. Although individual speeds are associated with specific instruments for most of`Anaphora' (piano and vibraphone), these speeds are also articulated by other instruments in the ensemble.…”

The spectral music of James Tenney

“…Attempts to adapt the frequency structure of the harmonic series for use in rhythmic applications have been pursued by composers as diverse as Karlheinz Stockhausen (Heikinheimo, 1972;Truelove, 1984), Conlon Nancarrow (Gann, 1995), Elliott Carter (Bernard, 1988), Ben Johnston (Von Gunden, 1986) and many younger postminimalist American composers (Gann, 1997b). The roots of this preoccupation are traceable in large part to the early music and writings of Henry Cowell.…”

Multi‐Temporality: an Analytical Approach to Contemporary Music, Embracing Concepts of Gilles Deleuze and Félix Guattari

“…In the domain of pitch, intervals are more important than specific frequencies, while in the domain of time, proportional durations are more important than actual speeds. Only in rare cases does Carter use the same proportions for pitch and rhythm, for instance in the Double Concerto (Bernard ).…”