Contemporary Music Review Journal Impact Factor & Information

Publisher: Taylor & Francis (Routledge)

Journal description

Contemporary Music Review is a contemporary musicians' journal. It provides a forum where new tendencies in composition can be discussed in both breadth and depth. Each issue will focus on a specific topic. The main concern of the journal will be composition today in all its aspects--its techniques, aesthetics and technology and its relationship with other disciplines and currents of thought. The publication may also serve as a vehicle to communicate actual musical materials.

Current impact factor: 0.00

Impact Factor Rankings

Additional details

5-year impact 0.00
Cited half-life 0.00
Immediacy index 0.00
Eigenfactor 0.00
Article influence 0.00
Website Contemporary Music Review website
Other titles Contemporary music review
ISSN 0749-4467
OCLC 11128997
Material type Music, Periodical, Internet resource
Document type Journal / Magazine / Newspaper, Sound Recording, Internet Resource

Publisher details

Taylor & Francis (Routledge)

  • Pre-print
    • Author can archive a pre-print version
  • Post-print
    • Author can archive a post-print version
  • Conditions
    • Some individual journals may have policies prohibiting pre-print archiving
    • On author's personal website or departmental website immediately
    • On institutional repository or subject-based repository after a 18 months embargo
    • Publisher's version/PDF cannot be used
    • On a non-profit server
    • Published source must be acknowledged
    • Must link to publisher version
    • Set statements to accompany deposits (see policy)
    • The publisher will deposit in on behalf of authors to a designated institutional repository including PubMed Central, where a deposit agreement exists with the repository
    • SSH: Social Science and Humanities
    • Publisher last contacted on 25/03/2014
    • This policy is an exception to the default policies of 'Taylor & Francis (Routledge)'
  • Classification
    ​ green

Publications in this journal

  • [Show abstract] [Hide abstract]
    ABSTRACT: Cartridge Music (1960) initiated crucial developments in John Cage's compositional processes and aesthetics. By allowing performers to use different sound sources and texts, it anticipated Cage's more open indeterminate works. By creating a theatrical situation in which performers produce live electronic music, manipulating dials on amplifiers and inserting and removing objects in and out of phonograph cartridges, it looked forward to subsequent works focusing upon actions as well as sounds. Examining the performance practice Cage and his colleagues developed for this work also draws attention to his changing views regarding improvisation. Finally, with Cartridge Music, Cage adapted his music to his evolving perceptions of broader cultural practices. The amplification of sounds that would otherwise be inaudible, constituted a musical metaphor for Cage's rapidly developing ‘McLuhanesque’ world view in which electronic circuitry creates an extension of the human nervous system to the outside world.
    Contemporary Music Review 02/2015; 33(5-6):1-14. DOI:10.1080/07494467.2014.998419
  • Contemporary Music Review 01/2015; 33(5-6):1-2. DOI:10.1080/07494467.2014.998412
  • [Show abstract] [Hide abstract]
    ABSTRACT: James Dillon's compositions usually invoke extra-musical stimuli from wide-ranging areas such as philosophy, mythology, science and literature. The key ‘genre’ of music which retains a traditional and prosaic title is the string quartet, which in his output has acted as a reflective and focussed diary often commenting on his other larger works. This article explores the first six quartets and their relation to his other music as well as their own internal logic(s) and structures.
    Contemporary Music Review 11/2014; 33(3). DOI:10.1080/07494467.2014.975551
  • Contemporary Music Review 11/2014; 33(3). DOI:10.1080/07494467.2014.975533
  • [Show abstract] [Hide abstract]
    ABSTRACT: As a European musical avant-garde starts to emerge around 1950, two locations assume a particular importance. One is Paris, where a group of radical young composers emerges around Messiaen, and Pierre Schaeffer founds musique concrète. The other is the town of Darmstadt, where an annual New Music Summer School (Ferienkurse für neue Musik) soon starts to attract young avant-gardists from all over Europe. Although this avant-garde broadly rejects all previous forms and conventions, one genre seems to retain its respect: the string quartet. Two early exemplars of the ‘new music string quartet’, by Cage and Boulez, were completed in Paris, and many of their successors were either premiered at the Darmstadt courses, or at least composed by Darmstadt habitués. The most significant of these, nearly all characterised by a strong inclination to rigorous constructivism, are discussed here. Composers featured include Berio, Boulez, Cage, Evangelisti, Koenig, Maderna, and Pousseur.
    Contemporary Music Review 11/2014; 33(3). DOI:10.1080/07494467.2014.975552
  • [Show abstract] [Hide abstract]
    ABSTRACT: The composition of new string quartets in Spain from the end of the 1950s undertook a path of renewal that strove toward modernity through the use of serial and aleatory techniques or new conceptions of timbre. This was in spite of the relatively scarce experience for Spanish composers of international examples of the genre. This essay offers a brief insight into the aesthetic diversity to be found in string quartets composed in Spain from 1950 up to the present, and stresses their openness toward newer hybrid perspectives of intertextuality and narrativity.
    Contemporary Music Review 11/2014; 33(3). DOI:10.1080/07494467.2014.975549
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    ABSTRACT: As a body of work, Ferneyhough's string quartets offer a panorama of his entire compositional career to date, including his first (unpublished) engagement with the genre in the early 1960s. This article examines his approach to the medium, drawing on sketch materials and charting the development of his style, his relationship to the quartet tradition and contextualising the quartet in relation to wider trends in his œuvre. Theoretical perspectives, including an evaluation of Ferneyhough's relationship to language, Adorno and Schoenberg, are also explored.
    Contemporary Music Review 11/2014; 33(3). DOI:10.1080/07494467.2014.975545
  • [Show abstract] [Hide abstract]
    ABSTRACT: Eight recent works for string quartet are considered with particular emphasis on the innovative characteristics of each work and the relationship between the works and the ensembles for which they were written.
    Contemporary Music Review 11/2014; 33(3). DOI:10.1080/07494467.2014.975548
  • [Show abstract] [Hide abstract]
    ABSTRACT: Even by his own iconoclastic standards, the stance that John Cage staked out with regard to the music of Erik Satie was extreme. Although Robert Orledge notes of Satie that ‘Curiously, rhythmic originality never seemed to concern him’, Cage insisted that his own rhythmic innovations (his use of symmetries and of square root, or micro-macrocosmic structures) derived from similar structures he found in Satie's works. This essay begins with a survey of the documents at the center of Cage's (mis)reading of Satie. It then examines the rhythmic structural innovations that Cage ascribes to Satie. It concludes with a study of parallel developments in the music of both composers that suggest lines of influence between them (some predating his first Satie essay) that Cage himself did not acknowledge. The paper includes detailed analyses of selections from Cage's Five Songs for Contralto and Six Melodies for Violin and Piano.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998415
  • [Show abstract] [Hide abstract]
    ABSTRACT: The Process of Discovery: Interpreting Child of Tree is a lecture delivered at the Percussive Arts Society International Convention in Austin, Texas, in 2012. John Cage composed Child of Tree for percussion solo in 1975 and the published score is made up of hand-written instructions on how to create the form and placement of instruments needed for a performance. It is (intentionally) difficult to read. The lecture describes the history of how, in the late 1980s through early 1990s, the author constructed a performance score of the piece. This includes correspondence with John Cage that sheds light on some of the problems involved.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998420
  • [Show abstract] [Hide abstract]
    ABSTRACT: This article begins by considering the interaction of notation and analysis by means of a comparison of scores from the 1950s. This discussion leads to the domains of error, value, and ethics. An ‘experimental’ mode of analysis is proposed, which takes taxonomy and statistics as a basis; from this one acquires an understanding that is observational rather than evaluative. A philosophical basis is noted in pragmatism, in the writings of James and Peirce. The consequences of this approach are explored through detailed study of Music for Piano and the compositional process that Cage employed; certain anomalies emerge.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998417
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    ABSTRACT: This essay focuses on two selected Number Pieces—Two (1987) for flute and piano, the first work of the series, and Four2 (1990) for mixed chorus. Closely examining the two main musical concerns of Cage's last creative phase—his changed view of harmony and the specific nature of the time brackets—this analysis tries to uncover the presence of the compositional subject under the system of chance in order to show why Cage feels ‘at home’ in his Number Pieces, having reached a point in his career where he deems as fulfilled his idea of music as a metaphor for society through the harmonization of the Apollonian and Dionysian, of order and chance on both a temporal and harmonic level.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998424
  • [Show abstract] [Hide abstract]
    ABSTRACT: In the early 1950s John Cage and Morton Feldman were commissioned to score documentary films on two significant American artists: Cage for the Herbert Matter documentary on sculptor Alexander Calder, and Feldman for the Hans Namuth and Paul Falkenberg documentary on Abstract Expressionist painter Jackson Pollock. Both artists saw these commissions as opportunities to formalize connections between their compositional approaches to sound and the visual approach to space, kinetic movement, and ground revealed in the time-based poetics of the moving image. Examination of archival documents from these film commissions, including original scores and correspondence, reveals numerous parallels between the New York schools of music and visual arts. Both films predate the radical shift in Cagean esthetics by only a year, and the commissions provided a self-conscious examination of the artistic ‘intermedia’ connections between auditory and visual approaches to a work of art.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998416
  • [Show abstract] [Hide abstract]
    ABSTRACT: John Cage studied with Arnold Schoenberg for virtually two years, from 18 March 1935 until January 1937. However, Cage did not immediately dismiss Schoenberg's ideas; as he asserted decades later, ‘In all of my pieces between 1935 and 1940, I had Schoenberg's lessons in mind.’ This essay examines Schoenberg's unique methods of teaching counterpoint in the courses Cage attended: species focusing on one cantus, polymorphous canon, pre-compositional manipulation of contrapuntal combinations, and the analysis of a composition written specifically for teaching American students, The suite in G (in old style) for string orchestra (1934). I argue that Schoenberg's notions of tonal counterpoint and the first movement of his Suite had a strong impact on Cage's handling of the fugue in his Second construction in metal, completed in January 1940, which he ultimately described as a ‘poor piece’, too influenced by ‘theory and education’.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998414
  • [Show abstract] [Hide abstract]
    ABSTRACT: The writings of Cage's acknowledged mentor in Zen Buddhism, D.T. Suzuki, reveal a more complex picture of Zen than Cage himself tended to describe. This essay considers several of these writings in order to articulate an approach to listening and analysis based in Zen, which is then used to explore two compositions with very different sonic profiles, Music for Piano 21 (1955) and One 5 (1990). My findings suggest a wide range of audible relationships in Cage's music as well as an ethical dimension to analysis related to Joan Retallack's concept of poethics.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998426
  • [Show abstract] [Hide abstract]
    ABSTRACT: This text focuses on compositional ideas in some of Cage's Number Pieces, some of which are more traditional, others more radical than a first glance would suggest. In particular the importance of silence and ‘inactivity’ will be examined in works such as 108, One8 and 108, Four2, and Four5. Studying the Number Pieces as a genre of structured, active ‘silences’ is consistent with one of Cage's intentions of his later works to stimulate performances where the audience, and environmental sounds and conditions create ‘a music made by everyone’.
    Contemporary Music Review 11/2014; 33(5-6). DOI:10.1080/07494467.2014.998422
  • [Show abstract] [Hide abstract]
    ABSTRACT: The creative energy which has emerged from Finland over the past 25 years or so has generated a great deal of interest, not just in terms of scholarship but amongst the concert-going public at large. Magnus Lindberg is a leading, internationally renowned figure in contemporary music and his preoccupation with matters of musical timescale—and its relationship to his native homeland—forms the basis of this article. An analytical case study of his recent orchestral work Era gives a focus to more wide-ranging discussions of time, space, motion and continuity, while helping us to understand the broad appeal of this undoubtedly modern music to a refreshingly wide-ranging audience.
    Contemporary Music Review 07/2014; 33(4). DOI:10.1080/07494467.2014.977025
  • [Show abstract] [Hide abstract]
    ABSTRACT: How music engenders a sense of speed remains notoriously elusive, with theories of musical time sometimes putting forward the idea of an ongoing motion which underlies perceived processes of change. Drawing upon the suggestion that a number of such processes can be understood without reference to this sense of movement, the current discussion proposes that the concept of ‘quickness’, as formulated by Italo Calvino, forms a useful interpretative lever through which to approach a number of compositions by Irish composer, Gerald Barry. Examinations of Bob, 1998 and In the Asylum suggest ways in which Barry's approach to musical material plays with perceptions of speed and slowness, and how his work represents a number of different solutions to the problem of creating convincing musical forms.
    Contemporary Music Review 07/2014; 33(4). DOI:10.1080/07494467.2014.977026
  • [Show abstract] [Hide abstract]
    ABSTRACT: What is the nature of time in music? This paper considers a number of dualisms in the way we conceive of and describe time, and how these dualisms function in the relationship between music analysis and music perception. Using the opening of the second movement from Webern's Symphony as a case study, McTaggart's tensed/un-tensed distinction will be considered, as will the static/dynamic conceptions of Newtonian/Einsteinian time. Various analytical methods will be placed relative to these dualisms.
    Contemporary Music Review 07/2014; 33(4). DOI:10.1080/07494467.2014.977024
  • [Show abstract] [Hide abstract]
    ABSTRACT: Takemitsu's two-piano concertante work Quotation of Dream: Say Sea, Take Me! (1991) is typical of the composer's late works in its rarefied atmosphere and spacious, carefully balanced structure, both qualities which highlight the influence of Claude Debussy. Uniquely within his output, however, here Takemitsu makes this debt explicit: Quotation of Dream is interwoven with a series of direct quotations from Debussy's La Mer, which serve as crucial landmarks in its formal drama. Three metaphors taken from Takemitsu's writings serve to delimit a number of different layers at which we might perceive the work. We might hear it as a ‘dream’, perceptually immediate and built around bizarre free-associations; as a Japanese ‘stroll garden’, where elements recur in ways which seem free but are actually carefully balanced; or as a fractured ‘mirror’ (or even a hall of mirrors), integrating Western and Japanese elements into an ambiguous, unstable whole.
    Contemporary Music Review 07/2014; 33(4). DOI:10.1080/07494467.2014.977031