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'Cassandra's Dream Song'

An In-depth Analysis Using a Modified Schenkerian Approach

By Ben SledgePublished 5 years ago 26 min read
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Cassandra's Dream Song by Brian FerneyhoughPerformed at the 2016 Cicada Consort Marathon Concert by Ben Sledge

Brian Ferneyhough is a colossus of late 20th century literature. He is a fixture of the controversial New Complexity movement whose music is still performed worldwide to audiences of both enthusiasts and detractors. Even though his popularity has not waned in the ears of new music buffs there is still very little written in the analytical realm that parses deeply into the genetic makeup of these elaborately constructed works. The typical objection to a work by Ferneyhough from the unsuspecting concertgoer is its obsessive density, its innate ability to bombard the senses, and its unique use of a circuitous pitch language usually constructed by the composer. But given the time and acumen a deep deconstruction can be performed that gives an open-faced view into the genuine and meticulous details placed into every component of the given work.

"Cassandra’s Dream Song" is famous among flutists all over the world for its combination of painstaking detail, carefree gestures, amazing virtuosity, and a narrative of betrayal and mistrust that pushes the musician to the emotional and physical brink during each performance. This piece is currently one of two pieces for solo flute by Brian Ferneyhough and is, in my opinion, the most approachable from a performance and an analytical standpoint. The piece begins with several pages of scrupulously refined keys detailing notation, expression, and the inevitable feeling that the performer will develop of overwhelming trepidation at tackling this titan of composition. At the onset it looks like any other legend to any typical piece of modernism that utilizes alternative notation that differs from common convention. Ferneyhough lays out detailed notes to fabricated and devised notational arrangements that require concentrated exploration to implement, but there is also an element that is not found in most scores. Ferneyhough leaves a thoughtful letter to the instrumentalist. In this is a sincere and genuine message to the performer acknowledging the difficulty with the music at hand. It is remarkable because Ferneyhough outlines that through the dense textures and dialogues of the two pages there are sections that ask too much of the performer bridging on the cusp of impossible. These passages are intentional, Ferneyhough writes, to create differentiation through performances and to showcase the tenacity of the musician. Ferneyhough goes on to draw the conclusion that through the struggle of trying to reproduce something that is impossible the individual creates their own meaning and communicates that to the audience. This is the real music, Ferneyhough says.

This is a brilliant showcase of craftsmanship on the part of Ferneyhough given the subject matter he is addressing implied in the title. Cassandra’s Dream Song conjures up old Greek tales of Cassandra and Apollo whose love was rattled with jealousy, dishonesty, and treason. Apollo, who was in love with Cassandra from afar, promised her the power of prophecy in exchange for carnal indulgences. After making the promise and receiving the gift Cassandra turned her back on Apollo. In his rage, Apollo avenged himself by ordaining that Cassandra’s prophecies never be believed. Even though she correctly prophesied the fall of Troy and the murder of Agamemnon her admonitions were disregarded as noise. During the attack and devastation of Troy Cassandra was dragged from her alter and raped by Ajax. She was later gifted to Agamemnon and there would die with him. All of these circumstances and consequences are wrapped into the narrative of Ferneyhough’s masterpiece. He has skillfully imbedded these storylines into the DNA of the work and has crafted a piece that will last the test of time and will continue to evolve through in-depth and fervent explorations of its content and underlying structures.

During the first page on line 1 Ferneyhough presents us with the opening sequence of compounded gestures upon which he will expand in the entire piece. In the first few utterances we hear a slow accumulating chain of rhythmically accelerating phrases. Each one adds a technique that will become integral in the communication of the extra-musical narrative. We are exposed to the primary set from which the rest of the first pages’ theoretical outline will germinate using a technique of centricity to differentiate from the opposing personality presented in the second page.

The initial set is [0,2,3,6,7] and is centered on A. The first permutation results in the sounding tones Eb, F, F#, A, and Bb. This is made clear through the first half of the first line where the only pitch notated is A and saturates most of the harmonic material of the first page. This pattern continues by hammering away at this single A until almost halfway through the line a B half-flat and an A half-flat appear. From there the set slowly expands until the end, with a rapid succession of the set in grace notes landing on a Eb/Bb overblown harmonic, which acts as a sort of dominant chord in the gestural, atonal structure.

The second line opens with a long, sustained and muted A, which culminates in a half-flat trill. This repeats several times, each iteration rotating around the central pitch. The entire set is not disclosed in this line but is hinted at in the formation of the pitches in the same permutation.

In the third line, Ferneyhough starts the slow expansion of the set by dropping the second tone in the set by a semitone. The resulting set in line 3 is [0,1,3,6,7] which is derived from the main set. It is also centered on the fundamental pitch and using the same permutation as the preceding lines. This resulting pitch material is Eb, E, F#, A, and Bb. This is reminiscent of harmonic and rhythmic material from the preceding lines and is aurally connected. The rhythmic material also echoes the technique of the cumulative process present in the opening line. The quick interjections of rhythmic material, above the sustained central pitch, slowly compounds throughout.

Line four is of particular interest. The seemingly same, static harmonic material is expected to show itself again, but instead Ferneyhough takes a different approach by expanding upon the rhythmic materials through development and simplification throughout the line. Also the harmonic content takes an altered approach by invoking every pitch except for G. This is interesting because the pitch material is related through oblique transformation of the harmonic material. This draws on line three where the second pitch of the class set was dropped by a semitone but instead in line 4 the reciting tone is lowered two semitones and every pitch is invoked except the new reciting tone. This also foreshadows the last line.

In line five Ferneyhough explores this idea of additive processes both rhythmically and harmonically. First harmonically: this line is made of two sets separated though notation. The first set, that of the normal size notes, has the primary set nested within. This set is [0,1,2,4,5,6,7,8,9] centered on A. This persistent permutation allows us to connect the aural relationships subconsciously. The second set also finds its roots in the original set and has it mostly nested within itself. This set, [0,2,3,4,5,6,8,9,10] is more closely related to the germinating set, but aurally the relationship is harder to establish due to the speed at which the notes pass.

The last line is of tremendous interest. The first half of the line rhythmically deconstructs all the previous expansions back mostly to their smallest forms, interpreting them in a rather straightforward manner. Most of the interest lies in the harmonic language, as established by the opening presentation of the single A tone, and the subsequent lines where A is established as the reciting tone of the page. In the first half of line 6 Ferneyhough presents all eleven pitches except for A. This takes our ear away from the “tonic” reciting tone and makes the impact of the second half even more powerful. In the second half, only the original set is presented, in its full form. The rhythmic material is that of the opening line but instead of dry and separated it is connected and fluid across all three octaves. The penultimate arrival is on an overly accented Eb doubly emphasized by vocalizations. This is the same type of Eb heard at the end of the opening line acting as an emotional and gestural dominant chord to the reciting tone. The last note then has a particularly strong impact as our reciting tone, A, rises from almost nothing to a triumphant fortissimo.

For the second page a more nonconventional technique in the realm of new music analysis will be employed in hopes to secure a deeper understanding of the compositional structure and overall large-scale form. The reason for this approach is upon multi-year inspections of the second page and numerous attempts to separate and codify an analytical method; all conventional resources and methods evaded the analytical understanding this piece deserves. The use of rampant, and proliferating atonality used in this section is the biggest reason for the constant evasion from understanding in the theoretical world. After almost a year of trial and error on many fronts of analytical methodology I decided to experiment with a Schenkerian approach. My reasoning for the application of this method is upon deep inspection and years of performing this piece; I was inclined to hear the longer line and overall function of the gestures of this page. This lead to a rationalization that maybe there are no specific harmonic practices exhibited in this page per-say, but instead Ferneyhough is using a series of gestures to produce and support longer formed voice leading. The implementation of this method has been effective in the deconstruction of the major voice leading of the page in question and has proven to yield a deeper understanding of the compositional construction, even more than was hoped, and I believe this is a viable approach to one of the most complex composers of the twentieth century who delights in breaking expectations in all aspects of musicality: composition, performance, and analysis.

In line A we can begin to see emphasis on specific pitches from the onset by the use of rapid repetition and extreme octave displacement. Ferneyhough gives prominence to the first two pitches, F and C respectively, by placing them in favorable registers of the instrument and giving them explosive dynamic contrasts and expression markings. These two pitches become the frame for the gentle two-voice counterpoint that will arise in the following Schenker graph. Next are several timbral inflections around the pitch A that will become a foil, leading us through the pitches Bb, B, and ultimately to C in the bottom voice of the graph. In the top voice during this same time there is a descending half step motion from our initial pitch, F, to E. This creates harmonic motion from a perfect fifth to a perfect fourth. The subsequent gestures spend time oscillating the two voices between fourths and fifths, using periphery pitches relating to the initial two. The top voice moves from the E and skips to G then walking down chromatically landing on F. This gives further emphases to the use of neighbor pitches to outline the larger form. Once more that will hold through until ultimately resolving up to G. During this time in the bottom voice we see contrary motion, first using whole steps, but subsequently resolving down chromatically. At this point the graph splits into two parts. The reason for this comes from the observation of the line and breaking it into a question and answer form. The question seems to be concerned with one voice, the lower, rising to meet the upper, which is otherwise stationary. The answer, however, flips this reality and brings resolution in the top voice falling to meet the lower. The “question” portion concludes after the gestures on the fourth octave B labeled “brutto!” and is a culmination of all previous tensions being released. Ferneyhough, in much his fashion, splits the answer into two voices, labels the two in separate dynamics, and hides the overall voice leading through extreme octave displacement. Using Schenkerian methods we are able to compress, reduce, and see the true form of the line. Much like the opening of the line we see the initial pitches, F and C, that were also stated at the beginning of the graph. Through the passage we see a converging of the two line, the top: F, Eb, D, C#, and concluding on Bb. Observing the bottom line we see a parallel decent from C to B and joining with the top on Bb. The following two layers of graphs show extensive use of reductive tactics to even more highlight and emphasize the underlying voice leading embedded in Ferneyhough’s writing. In layer three we have the most condensed version of this passage. The question segment has been reduced to a gentle, expanding set of dyads. This slow expansion from major fourth the major fifth is all but hidden by Ferneyhough through the ever developing and explosive gestures that compile his compositional lexicon.

Figure 1 - Graph of Line A

Looking at line B an amazing voice leading substructure can be uncovered much like the previous graph from the last line. In this instance, instead of slowly expanding then converging into one, the two voices that become evident move slowly upward in parallel motion staggered by several gestures. The movements in this line are of particular interest because of their relation to the two-voice structure in the foreground. The relation comes as ascending and descending cells that are recycled at different pitch levels. As observed in the first layer of the following graph, there is an immediate ascending motion towards what will emerge as our primary pitch in the upper voice, D#. This small cell encapsulates both whole and half steps, which will become the essential material for the bulk of these small cells. The rapid ascension can be parsed from the grace note gesture to be C, C#, and D culminating with the elongation of what will be our primary pitch of the upper voice, D#. But even this first pitch is modified to show the overall theme of this line: neighbor tone gestures, by having a half step trill imposed on the elongated pitch. After this initial pitch in the upper voice a chromatic, ascending gesture beginning on Ab and rising up to our next significant pitch, D, can be uncovered. The following grace note figure labeled as “legg. poss!” and “sempre pp” by Ferneyhough, introduces us to the first pitch of our lower voice: G. The gesture is reduced in layer one of the graph as F, D, E, and Eb and again emphasizing the neighboring pitches. The first note, F, gives us a bridge to the G and the subsequent pitches relate to the upper voice, which is at this point is centering on D. After this Ferneyhough uses another compositional tactic of extreme octave displacement to create a dialogue between the aforementioned chromatic cells. These small cells are relentlessly reiterated on different pitch levels with staggering entrances that create hidden tension and release. The first layer graph shows several voice crossing liner relationships that are further contracted and made clearer in the following graphs. After this Ferneyhough uses several gestures to achieve a cross-relational and prolonged counterpoint that can be observed through the graph. This voice leading functions in the pitch space between the two dominant voices in the foreground and creates an aural bridge between the upper and lower voices for the listener. The last sizeable gesture in this line is riddled with oscillating pitch content embedded with small chromatic cells that link together to create the large-scale ascension illustrated in the graph. The figure begins with a D being trilled up a half step and under a fermata that dictates six seconds. This is reminiscent of the opening gesture and continued return to the half step undulation that has permeated this section. The figure then takes on the function of a slowly unraveling line with sporadic leaps to neighboring pitches that will create the skeleton of our voice-leading map. First to B then A# and C# and so on in an overall chromatic ascent each time returning to the oscillating D to Eb trill. The beauty of using the graph to illustrate and then strip away the ancillary material is that through the following layers one can begin to see the deep craft entrenched in this figure; several voices are at play in this single line, and in later layers of the graph they become increasingly more apparent. The ending of this line is relatively tame and simple with Ferneyhough hammering home on the theme of oscillating half steps and neighboring pitches. The penultimate gesture is to be held for five seconds and is an oscillation between an A half-flat and a B half-flat: the two pitches that are as close to the ending pitch of the bottom voice that Ferneyhough can manage. The ending pitch for the bottom voice is B while the ending pitch for the upper voice is E. This effect gives us the same feeling from the pervious line of ending on a major fourth in the skeletal structure. In the final layers of the graph the ultimate and overarching voice leading become apparent. Layer four shows a more detailed skeleton of the embedded structure with the upper voice beginning on D#, descending a half step to D and then rising a whole step to E giving a satisfying resolution. This is significant because in the skeletal structure of the upper voice is embedded both relations, half step and whole step, that are used to create the small cells that make up the surrounding gestures that accentuate the main melodic line. This illustrates that Ferneyhough’s compositional process is not only overt in it’s messaging of specific themes but also covert in the way that the overall compositional structure is not only embedded, but also the germination for all of the surrounding gestures and melodic cells. The relation between half and whole step has permeated to the deepest level of micromanagement and is implanted in the DNA of each melodic figure. In the lower voice of the graph we see a postponed entrance at a perfect fifth below the respective upper voice and then a slow chromatic ascension to a B, creating the harmony of a perfect fourth with the upper voice. The further parsing of layer five clarifies the gentle counterpoint concealed in this colossal structure.

Figure 2 - Graph of Line B

For line C a somewhat more traditional approach was taken at the onset of analysis. The reason is this line has already been parsed into four small segments by the composer and is able to be easily understood through more traditional methodology previous to implementing Schenkerian practices. Starting with phrase one we are given the set [0,1,2,3,4,6,7,9], which will become a base for expansion in the following sections. Harkening back to the first page analysis we can see the home set from there, [0,2,3,6,7], implanted into this first set. This is only moderately significant because when dealing with such large sets there is bound to be some overlap throughout, but still worth mentioning. In the second phrase we find the set [0,1,2,3,4,5,6,7,8]. This all-chromatic set is related to the pervious set through the additive property, inserting 5, and the substitution of 9 for 8. In phrase three we have the set [0,1,2,3,4,6,8,9]. This set is an amalgamation of the first two sets in that combines the use of pitch class 8 and 9 within the set. Lastly in phrase four we see the set [0,1,2,3,4,5,6,8,9,10], which is a combination of all pervious sets and a use of the additive property to now include pitch class 10. All in all, this method of analysis is unique to this page because here there seems to be more organizational tactics placed on pitch content, which is not necessarily the case of the other lines that are more concerned with gesture and the accentuation of the primary pitches in the foreground. This is also the first stop in drawing a relationship between the two pages. Where all other lines are used to create the opposite aural illusion from the first page, this line not only embraces the same organizational technique, but inserts directly the primary pitch collection from the first page.

The Schenker graph for line C is intriguing and unique as it begins with the now expected two voice counterpoint becoming apparent early on, but as the line develops a third voice arises towards the end and a three part harmony, not before seen, is established. At the onset we have the note F becoming prominent and will establish itself as the primary pitch in our upper voice. The note C# also sticks out as an important pitch because of its registeral placement and its repeated prominence in the four sections. This note will become the primary pitch of our lower voice. Throughout the line the upper voice rises in a quasi-chromatic motion from F to G then Ab and culminating on A. Also outlined in the graph Ferneyhough makes use of the harmonic properties of this ascension by embedding them in the seemingly chaotic figures, which are all but haphazard in their organization. In the lower voice we start with the pitch C# and rise in a fully chromatic fashion climaxing on an F. This gives a covert relation to the upper voice with the last note of the lower ending on the first note of the upper. Beginning in the third segment we start to see a third voice arise that will occupy the pitch space between the upper and lower voice. This voice makes a modified appoggiatura figure between the upper and lower voices beginning on D and dancing around its ultimate pitch, C. Upon the reduction of layers one and two, layer three holds a fascinating find. As illustrated, the upper and lower voices have a cross octave relationship that germinates and creates the consequent middle voice. Starting with the F in the upper and combining with the Eb in the lower, the middle voice has perfect ground to emerge and latch on the its own line beginning on D and completing a complementing chromatic sigh in contrary motion to the upper and lower voices. The underlying harmony that is achieved at the finale of this line is an astounding compositional display. Ferneyhough has created a three-voice texture, each voice instigating and elucidating the other, and climaxed with a tangible harmonic progression from a VII7 in 4/2 inversion to I in the key of F major.

Figure 3 – Graph of Line C

Line D is also of particular interest. Looking at the previous line we can see through the graph that Ferneyhough created two separate lines that converged together to generate a third. In this line, we will see Ferneyhough creating two independent lines that converge and separate. This convergence can be seen as a third line that is created out of the two coming together and unraveling. At the onset we are given the two primary pitches for both voices placed in prominent registers and given distinction because of their note length. The upper voice begins with a B half-flat, which is a compliment to the eventual resolution to Bb, and the lower voice commences with an F#. In the lower voice we can see that Ferneyhough is still concerned with cohesiveness of the entire structure because he interpolates a long pitch bend to an F half-sharp and back to the original pitch. This not only gives credence to the first pitch of the line and upper voice being a half-flatted note, but also gives a nod to previous lines that have been created on the accentuation of closely related and neighboring pitches to draw out the true melodic line. After several gestures ascending and descending gestures punctuated with neighboring microtonal pitches, the lower voice climbs to a G while the upper voice relaxes down for an A. At this point we can see the convergence of the individual lines to create an underlying third. The junction of the two lines is just as significant as their departure. Instead of the lower voice simply melding with the upper it departs again on its own path resolving down to F# again. The upper voice, however, continues its upward ascent culminating on a B. In between these rising actions are sprinkles of lines and graphs past. The overarching melodic phrase is accentuated through the combination of many small cells sporadically interspersed to deepen the importance of the stationary pitches presented.

Figure 4 - Graph for Line D

Line E, as we have seen from many instances in Ferneyhough’s writing, is an amalgamation of several techniques that either were explicitly employed or covertly implied. In this case, Ferneyhough is drawing on the parallel octaves from the first line coupled with the reiterating cells of closely related pitches and neighboring microtones made apparent in the ancillary structures of the previous graph, and combines the overall skeletal structure with the undulating half step motions of previous lines and the converging of the voices hinted at in line D. All of these techniques saturate this line so deeply that the final layer of the Schenkerian graph reduces the structure to a simple half-step sigh from C to B. At the onset we are presented with a harmonic of two pitches that are subsidiary and highlight the significant primary pitches that arise in the two voices of our graph. First we see only the upper voice. This voice oscillates gently between C, C half-sharp, and C#. Through this we can see the connection being drawn to several other graphs. Interspersed between these oscillations are small minutia of multiphonics and repeating cells of half and whole steps. About midway through this line we see the rise of the second voice. This technique is significant because the birth of the lower voice is embedded in a multiphonic with B as its fundamental and C in the soprano. B becomes the primary pitch of our lower voice and from there holds, with a small fold down to B half-flat and back up to B, until the upper voice gives way and collapses down to it. In the later layers of this graph we can see the convergence become even more clear as the tension between them is the germinating factor and the eventual demise of the upper voice. This structure is the ultimate illustration of the underlying theme of the entire page: the relation of half and whole step. Layer five of this graph is the consolidation of the entire page in that the skeletal structure begins on a C that continues into eternity but is overtaken by a B that emerges from eternity and becomes the victor. Even going a step further: the note C, or as in line C and D – a whole step away, has been present at the onset of each graph. If this last line is an amalgamation of all previous lines just as the last line of page one is a direct use of the initial set and a combination of all previous gestures, it is not farfetched to see a complete reduction of this page, after many layers, begin condensed down to a simple half step progression from C to B.

Figure 5 - Graph of Line E

This is even more of a relation to the first page where A was the virtual reciting tone of the entire page, given one line, and that creates a whole step and half step relation to the entire amalgamation of the second page. In a broader sense this is extremely important to the relation to the entire piece. The form of this piece, loosely, is lines of page one, interspersed with sections of page two, and ultimately returning to page one for the closing. Thus if page one is centered on A and the second page can be seen as a gargantuan gesture moving from C to B as illustrated in the condensing of line E, then the entire piece can be understood as A moving to C then B then resolving to A which, when put in a harmonic context inline with Schenkerian theories of implied harmonies, we can see a tonic – dominant progression in A minor.

Though some may see this analysis as a gross oversimplification, it is an integral, if singular, strand of analysis that leads to a greater understanding of the construction of this piece as a whole. Engaging these seemingly unconventional reductive practices give a more full-bodied and aerial view to a piece that would be left in jumbled fragments if only understood through pitch-class set analysis. Hopefully this short analysis will be a brick in the massive path to better understanding the works of Brian Ferneyhough and even to pieces of post-tonal and New Complexity that involve similar compositional techniques.

Biography

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