''Die Reihe'' () was a German-language music

academic journal An academic journal or scholarly journal is a periodical publication in which scholarship relating to a particular academic discipline is published. Academic journals serve as permanent and transparent forums for the presentation, scrutiny, and ...

, edited by Herbert Eimert and

Karlheinz Stockhausen Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundb ...

and published by

Universal Edition Universal Edition (UE) is a classical music publishing firm. Founded in 1901 in Vienna, they originally intended to provide the core classical works and educational works to the Austrian market (which had until then been dominated by Leipzig-bas ...

(Vienna) between 1955 and 1962 (). An English edition was published, under the original German title, between 1957 and 1968 by the

Theodore Presser Company The Theodore Presser Company is an American music publishing and distribution company located in Malvern, Pennsylvania, formerly King of Prussia, Pennsylvania, and originally based in Bryn Mawr, Pennsylvania. It is the oldest continuing music pub ...

( Bryn Mawr) in association with Universal Edition (London) (). A related book series titled "Bücher der Reihe" was begun, but only one title ever appeared in it, Herbert Eimert's ''Grundlagen der musikalischen Reihentechnik''.

Origin

The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the Studio for Electronic Music of the

Nordwestdeutscher Rundfunk Nordwestdeutscher Rundfunk (NWDR; ''Northwest German Broadcasting'') was the organization responsible for public broadcasting in the German Länder of Hamburg, Lower Saxony, Schleswig-Holstein and North Rhine-Westphalia from 22 September 1945 to ...

(NWDR) in Cologne (later WDR) under the influence of

Werner Meyer-Eppler Werner Meyer-Eppler (30 April 1913 – 8 July 1960), was a Belgian-born German physicist, experimental acoustician, phoneticist and information theorist. Meyer-Eppler was born in Antwerp. He studied mathematics, physics, and chemistry, ...

, and the realisation that technology was becoming an important element in the work of younger composers. The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio's educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication.

Character and history

The subtitle of the original edition, "Information über serielle Musik" ("information on

serial music In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were als ...

") reflected the intent of the editors, but was changed for the English edition to "A Periodical Devoted to Developments in

Contemporary Music Contemporary classical music is classical music composed close to the present day. At the beginning of the 21st century, it commonly referred to the post-1945 modern forms of post-tonal music after the death of Anton Webern, and included se ...

", a phrase that did not effectively represent the journal's specific context and may have been one reason for an unfavourable reaction from American composers and critics. There were just eight volumes published, each under a thematic title. Further issues had been planned, but publication was broken off when deteriorating relations between the two editors reached the point of open rupture. In 1958, a competing journal, the ''Darmstädter Beiträge zur Neuen Musik'', was launched by

Wolfgang Steinecke Wolfgang Steinecke (22 April 1910 – 23 December 1961) was a German musicologist, music critic, and cultural politician. In Darmstadt, he revived cultural life after World War II, especially by initiating the Darmstädter Ferienkurse, whi ...

, director of the Darmstädter Ferienkurse. When Stockhausen agreed to let Steinecke co-publish an article that Eimert had expected exclusively for ''Die Reihe'', Eimert felt he was being disloyal. When other young composers began following Stockhausen's lead, and Stockhausen himself authorised a short version of another article originally published in ''Die Reihe'', it put increasing pressure on Eimert, who was threatened with a cut in funding by of Universal Edition. On the other side, on 24 May 1961 Eimert published in the ''

Kölnische Rundschau The ''Kölnische Rundschau'' is a regional, independent daily newspaper for the Cologne/Bonn area. It is edited by Cologne Heinen-Verlag, which has its own independent local editorial office. The production of the national section was taken over ...

'' a glowing review of

Hans Werner Henze Hans Werner Henze (1 July 1926 – 27 October 2012) was a German composer. His large oeuvre of works is extremely varied in style, having been influenced by serialism, atonality, Stravinsky, Italian music, Arabic music and jazz, as well as ...

's opera '' Elegy for Young Lovers''. Since Henze's style was comparatively old-fashioned, Stockhausen regarded this as a betrayal of the principles of serial music underlying ''Die Reihe'', and vehemently broke with Eimert over it.

English edition

Differences between the German and English editions can be seen from a comparison of their respective tables of contents. Occasionally items were omitted or substituted, but more commonly these involve the order of the articles. In some cases, however, these resulted in a different tone or emphasis, contributing to the problematic reception of ''Die Reihe'' in America. For example, the foreword to the first volume (1955) of the German edition declared it to be the mouthpiece for the younger generation, but this foreword was omitted in the 1957 English edition. In addition, the quality of the translations vary considerably. The first volume of the English edition, in particular, "is often content to avoid, rather than understand, the more complex formulations and metaphors in the text".

Reception

''Die Reihe'' became the most important source of information about European serial and electronic music, thanks in part to the appearance of the English edition. ''Die Reihe'' excited considerable controversy, especially after the English editions began appearing in 1957.

George Perle George Perle (6 May 1915 – 23 January 2009) was an American composer and music theorist. As a composer, his music was largely atonal, using methods similar to the twelve-tone technique of the Second Viennese School. This serialist style, and ...

and

John Backus John Warner Backus (December 3, 1924 – March 17, 2007) was an American computer scientist. He directed the team that invented and implemented FORTRAN, the first widely used high-level programming language, and was the inventor of the Backu ...

wrote particularly scornful reviews (Grant points out an example of wilful misquotation in Backus's review,) but even in his relatively factual report on the first volume,

Arthur Jacobs Arthur David Jacobs (14 June 1922 – 13 December 1996) was an English musicologist, music critic, teacher, librettist and translator. Among his many books, two of the best known are his ''Penguin Dictionary of Music'', which was reprinted in sev ...

could not resist making a joke with reference to the contentiousness surrounding the journal, in connection with a suggestion that the title should also have been translated: "if 'The Row' is open to mispronunciation, 'the Series' would have done". Dika Newlin, reporting on volume five, concludes (apparently with reference to the item in it by

John Cage John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading f ...

) by saying "Many readers will be disquieted by the periodical's continuing mixture of worthwhile investigation with pretentious phoniness". John Backus especially singled out articles by Eimert, Stockhausen,

Henri Pousseur Henri Léon Marie-Thérèse Pousseur (23 June 1929 – 6 March 2009) was a Belgian classical composer, teacher, and music theorist. Biography Pousseur was born in Malmedy and studied at the Academies of Music in Liège and in Brussels from 1947 ...

, and

Paul Gredinger Paul Gredinger (27 July 1927 – 6 October 2013) was a Swiss architect. Gredinger was one of the leading figures in the German advertising scene.

1955 in his review of the first four volumes, where he described the extensive use of scientific methodology as inaccurate and pseudo-scientific; the use of jargon disregarded the meanings of scientific terms and made the articles unintelligible; and all the contents lacked any reference to the results of other workers as support for their statements. Werner Meyer-Eppler's article in volume 1 is singled out as the sole exception: "an interesting account of some experimental results in

psycho-acoustics Psychoacoustics is the branch of psychophysics involving the scientific study of sound perception and audiology—how humans perceive various sounds. More specifically, it is the branch of science studying the psychological responses associated wit ...

hich Ij ( fa, ايج, also Romanized as Īj; also known as Hich and Īch) is a village in Golabar Rural District, in the Central District of Ijrud County, Zanjan Province, Iran Iran, officially the Islamic Republic of Iran, and also ...

is adequately supplied with references, and is a model of lucidity". Backus makes it clear that his concern is exclusively with the use or misuse of scientific terminology: "We shall not concern ourselves with their musical content". One of the most severe critiques was published in the last issue of ''Die Reihe'' itself. This was by the Dutch physicist

Adriaan Fokker Adriaan Daniël Fokker (; 17 August 1887 – 24 September 1972) was a Dutch physicist. He worked in the fields of special relativity and statistical mechanics. He was the inventor of the Fokker organ, a 31-tone equal-tempered (31-TET) organ. ...

, and was directed primarily at Stockhausen's article "... wie die Zeit vergeht ...". A response defending Stockhausen was published by his colleague, the composer Gottfried Michael Koenig, in the same issue. Austrian composers

Friedrich Cerha Friedrich Cerha (born 17 February 1926) is an Austrian composer, conductor and music educator. Education and Career Cerha was born in Vienna, Austria, and educated at the Viennese Music Academy (violin with Váša Příhoda, composition with ...

and

Kurt Schwertsik Kurt Schwertsik (born 25 June 1935) is an Austrian contemporary composer. He is known for creating the "Third Viennese School" and spreading contemporary classical music. Life Schwertsik was born in Vienna. A pupil of Joseph Marx and Karl Schis ...

founded the , dedicated to the performance of

Neue Musik Neue Musik (English ''new music'', French ''nouvelle musique'') is the collective term for a wealth of different currents in composed Western art music from around 1910 to the present. Its focus is on compositions of 20th century music. It is char ...

, in 1958. American experimental musician Jack Callahan named his recording project in 2014 after this magazine.

Subject matter

Each of the eight issues of ''Die Reihe'' was dedicated to a different theme, announced in a subtitle.

German edition

*Band 1 "

Elektronische Musik Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means (electroacou ...

" (1955) **5: "Gruss an " **7: "Vorwort" **8–13: Herbert Eimert, "Die sieben Stücke" **14–16:

Karel Goeyvaerts Karel August Goeyvaerts (8 June 1923 – 3 February 1993) was a Belgian composer. Life Goeyvaerts was born in Antwerp, where he studied at the Royal Flemish Music Conservatory; he later studied composition in Paris with Darius Milhaud and analys ...

, "Das elektronische Klangmaterial" **17–19: H. H. Stuckenschmidt, "Die dritte Epoche" **20–21:

Giselher Klebe Giselher Wolfgang Klebe (28 June 19255 October 2009) was a German composer, and an academic teacher. He composed more than 140 works, among them 14 operas, all based on literary works, eight symphonies, 15 solo concerts, chamber music, piano work ...

, "Erste praktische Arbeit" **22–28:

, "Statistische und psychologische Klangprobleme" **29–30: Gottfried Michael Koenig, "Studiotechnik" **31–33:

Ernst Krenek Ernst Heinrich Krenek (, 23 August 1900 – 22 December 1991) was an Austrian, later American, composer of Czech origin. He explored atonality and other modern styles and wrote a number of books, including ''Music Here and Now'' (1939), a study ...

, "Den Jüngeren über die Schulter geschaut" **34–41: Paul Gredinger, "Das Serielle" **42–46:

, "Strukturen des neuen Baustoffs" **47–56:

Pierre Boulez Pierre Louis Joseph Boulez (; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war Western classical music. Born in Mo ...

, "An der Grenze des Fruchtlandes" **57–63:

, "Aktuelles" *Band 2 "

Anton Webern Anton Friedrich Wilhelm von Webern (3 December 188315 September 1945), better known as Anton Webern (), was an Austrian composer and conductor whose music was among the most radical of its milieu in its sheer concision, even aphorism, and stead ...

" (1955) *(1. Teil) Dokumente—Bekenntisse **7:

Igor Stravinsky Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential 20th-century clas ...

, "Geleitwort" **8–11: Friedrich Wildgans, "Biografische Tabelle" **12–13: "Verzeichnis der Werke" **14–15: , "Eine Kantate" **15:

Arnold Schoenberg Arnold Schoenberg or Schönberg (, ; ; 13 September 187413 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was as ...

, "Vorwort zu den Sechs Bagatellen" **16–17: Anton Webern, "Bekenntniss zu Schoenberg" **18: "Der Dirigent Anton Webern" **19: Ernst Krenek, "Der Stein, den die Bauleute verworfen haben, der ist zum Eckstein worden" **20–28: Ernst Krenek, "Aus dem Briefwechsel" **29: Ernst Krenek, "Der UE-Lektor" **30–32: Anton Webern, "Choralis Constantinus" *(2. Teil) Erkenntnisse—Analysen **35–41: Herbert Eimert, "Die notwendige Korrektur" **42–44:

, "Zum 15. September 1955" **45–46:

, "Für Anton Webern" **47–50:

Heinz-Klaus Metzger Heinz-Klaus Metzger (6 February 1932 – 25 October 2009) was a German music critic and theorist. Born in Konstanz, Metzger studied piano under Carl Seemann in Freiburg im Breisgau and composition under Max Deutsch in Paris. Later, he met Theod ...

, "Webern und Schönberg" **51–55:

Leopold Spinner Leopold Spinner (26 April 1906 – 12 August 1980) was an Austrian-born, British-domiciled composer and editor. Biography Spinner was born of Austrian parentage in Lemberg (now Lviv, the Ukraine, Lwów, Poland during the interwar period). From ...

, "Eine Analyse (Konzert für 9 Instrumente, 2. Satz)" **56–65:

, "Weberns organische Chromatik (1. Bagatelle) " **66–68: Christian Wolff, "Kontrollierte Bewegung (Werkauswahl)" **69–79: Karlheinz Stockhausen, "Struktur und Erlebniszeit (Streichquartett, 2. Satz) " **80–84: Heinz-Klaus Metzger, "Analyse des Geistlichen Liedes op. 15 Nr. 4" **85–96: Armin Klammer, "Weberns Variationen für Klavier, 3. Satz" **97–102: Herbert Eimert, "Intervallproportionen (Streichquartett, 1. Satz)" *Band 3: "Musikalisches Handwerk" (1957) **5–12: Herbert Eimert, "Von der Entscheidungsfreiheit des Komponisten" **13–42:

, "...wie die Zeit vergeht... " **43–45:

, "Beschreibung der in ''Music for Piano 21–52'' angewandten Kompositionsmethode" **46–88:

, "Zur Methodik" *Band 4: "Junge Komponisten" (1958) **5–8: Wolf-Eberhard von Lewinski, "Junge Komponisten" **9–17: Udo Unger, "

Luigi Nono Luigi Nono (; 29 January 1924 – 8 May 1990) was an Italian avant-garde composer of classical music. Biography Early years Nono, born in Venice, was a member of a wealthy artistic family; his grandfather was a notable painter. Nono beg ...

: ''Polifonica–Monodia–Ritmica'', ''

Il canto sospeso ''Il canto sospeso'' (''The Suspended Song'') is a cantata for vocal soloists, choir, and orchestra by the Italian composer Luigi Nono, written in 1955–56. It is one of the most admired examples of serial composition from the 1950s, but has al ...

''" **18–31: Gottfried Michael Koenig, "Henri Pousseur" **32–37: Rudolf Stephan, "

" **38–63:

György Ligeti György Sándor Ligeti (; ; 28 May 1923 – 12 June 2006) was a Hungarian-Austrian composer of contemporary classical music. He has been described as "one of the most important avant-garde composers in the latter half of the twentieth century ...

, "Pierre Boulez. Entscheidung und Automatik in der ''Structure 1a''" **64–80:

, "Intermezzo I: Das Altern der Philosophie der neuen Musik" **81–84: Herbert Eimert, "Intermezzo II" **85–88: Gottfried Michael Koenig, "Bo Nilsson" **89–97: Wolf-Eberhard von Lewinski, "Giselher Klebe" **98–102: Piero Santi, "

Luciano Berio Luciano Berio (24 October 1925 – 27 May 2003) was an Italian composer noted for his experimental work (in particular his 1968 composition ''Sinfonia'' and his series of virtuosic solo pieces titled ''Sequenza''), and for his pioneering work ...

" **103–12: Reinhold Schubert, " Bernd Alois Zimmermann" **113–18: Giacomo Manzoni, "

Bruno Maderna Bruno Maderna (21 April 1920 – 13 November 1973) was an Italian conductor and composer. Life Maderna was born Bruno Grossato in Venice but later decided to take the name of his mother, Caterina Carolina Maderna.Interview with Maderna‘s th ...

" **119–33:

Dieter Schnebel Dieter Schnebel (14 March 1930 – 20 May 2018) was a German composer, theologian and musicologist. He composed orchestral music, chamber music, vocal music and stage works. From 1976 until his retirement in 1995, Schnebel served as professor of ...

, "Karlheinz Stockhausen" *Band 5: "Berichte—Analyse" (1957) **5–22: Herbert Eimert, "

Debussy (Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionism in music, Impressionist composer, although he vigorously rejected the term. He was among the most infl ...

s ''Jeux''" **23–37:

Mauricio Kagel Mauricio Raúl Kagel (; 24 December 1931 – 18 September 2008) was an Argentine-German composer. Biography Kagel was born in Buenos Aires, Argentina, into an Ashkenazi Jewish family that had fled from Russia in the 1920s . He studied music, his ...

, "Ton-Cluster, Anschläge, Übergänge" **38–40:

, "Zur III. Klaviersonate von Boulez" ** 41–49:

, "Gescheiterte Begriffe in Theorie und Kritik der Musik" **

, "Zwei Vorträge: " ***50–59: I "Elektronische und instrumentale Musik" ***59–73: II "Musik im Raum" **74–83: Gottfried Michael Koenig, "Studium im Studio" **84: Hans G. Helms, "Zu John Cages Vorlesung 'Unbestimmtheit'") **85–121:

, "Unbestimmtheit" �bersetzung und räumliche Anordnung, Hans G. Helms *Band 6: "Sprache und Musik" (1958) **5–29: , "Mallarmé und das serielle Denken" **30–35:

, "Brouillards. Tendenzen bei Debussy" **36–58:

, "Musik und Sprache" **59–70: Nicolas Ruwet, "Von den Widersprüchen der seriellen Sprache" **71–87:

, "Musik, Form und Praxis (Zur Aufhebung einiger Widersprüche)" *Band 7: "Form—Raum" (1960) **5–17:

, "Wandlungen der musikalischen Form" **18–23: , "Das Raumtheater von

Amancio Williams Amancio Williams (February 19, 1913 –October 14, 1989) was an Argentine architect and among his country's leading exponents of modern architecture. Life and work Amancio Williams was born in Buenos Aires in 1913. His father, Alberto Wil ...

" **24–30: Christian Wolff "Über Form" **31–61:

Mauricio Kagel, "Translation – Rotation" **62–72: John Whitney, "Bewegungsbilder und elektronische Musik" **73–76: Rainer Fleischhauer, Jörn Janssen, "Hochbau für 200 000 E" **77–86: Jörn Janssen, "Erstes Projekt" *Band 8: "Rückblicke" (1962) **5–6: Herbert Eimert, "Nachruf auf Werner Meyer-Eppler" **7–10:

, "Informationstheoretische Probleme der musikalischen Kommunikation" **11–25: Helmut Kirchmeyer, "Vom historischen Wesen einer rationalistischen Musik" **26–34: Walter Schulze-Andresen "Das dreidimensionale Notenbild" **35–61: Walter O'Conell, "Der Ton-Raum" **62–72: Adriaan D. Fokker, "Wozu und Warum?" **73–92: Gottfried Michael Koenig, "Kommentar" **93–95: "Publikationen der Reihe"

English edition

*Vol. 1 "

Electronic Music Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means ( electro ...

" (1957) **vi: G. _Alexander_Goehr.html" ;"title="Alexander_Goehr.html" ;"title=" Alexander Goehr"> Alexander Goehr">Alexander_Goehr.html" ;"title=" Alexander Goehr"> Alexander Goehr"Translator's Preface" **1–10: Herbert Eimert, "What Is Electronic Music?" **11–13: H. H. Stuckenschmidt, "The Third Stage" **14–16:

, "A Glance over the Shoulders of the Young" **17–18:

, "First Practical Work" **19–29:

, "At the Ends of Fruitful Land..." **30–34:

, "Formal Elements in a New Compositional Material" **35–37:

, "The Sound Material of Electronic Music" **38–44: Paul Gredinger, "Serial Technique" **45–51:

, "Actualia" **52–54: Gottfried Michael Koenig, "Studio Technique" **55–61:

, "Statistic and Psychologic Problems of Sound" *Vol. 2 "

" (1958) *(Part 1) Biographical **vii:

, "Foreword" **1–4: Friedrich Wildgans, "Biographical Table" r. Leo Black**5–6: "Index of Works" **7–8: , "A Cantata" r. Eric Smith**8:

, "Foreword to Webern's Six Bagatelles, Op. 6" r. Eric Smith**9–10: Anton Webern, "Homage to Arnold Schoenberg" r. Eric Smith**11: "Webern as a Conductor" r. Eric Smith**12:

, "The Same Stone Which the Builders Refused Is Become the Headstone of the Corner" r. Eric Smith**13–21: Ernst Krenek, "From the Correspondence" r. Eric Smith**22: Ernst Krenek, "The UE Reader" r. Eric Smith**23–25: Anton Webern, "Choralis Constantinus" r. Leo Black*(Part 2) Analytical **29–36: Herbert Eimert, "A Change of Focus" r. Leo Black**37–39:

, "For the 15th of September, 1955" r. Leo Black**40–41:

, "The Threshold" r. Leo Black**42–45:

, "Webern and Schoenberg" r. Leo Black**46–50:

, "Analysis of a Period" r. Leo Black**51–60:

, "Anton Webern's Organic Chromaticism" r. Leo Black**61–63: Christian Wolff, "Movement" **64–74: Karlheinz Stockhausen, "Structure and Experiential Time" r. Leo Black**75–80: Heinz-Klaus Metzger, "Analysis of the Sacred Song, op. 15, no. 4" r. Leo Black**81–92: Armin Klammer, "Webern's Piano Variations, op. 27, 3rd Movement" r. Leo Black**93–99: Herbert Eimert, "Interval Proportions" r. Leo Black *Vol. 3 "Musical Craftmanship"'(1959) **1–9: Herbert Eimert, "The Composer's Freedom of Choice" r. Leo Black**10–40:

, "... How Time Passes ... " r._Cornelius_Cardew.html" ;"title="Cornelius_Cardew.html" ;"title="r. Cornelius Cardew">r. Cornelius Cardew">Cornelius_Cardew.html" ;"title="r. Cornelius Cardew">r. Cornelius Cardew **41–43:

, "To Describe the Process of Composition used in ''Music for Piano 21–52''" **44–88:

, "Outline of a Method" r. Leo Black***44–47: "Introduction" ***48–55: "''Quintet in Memory of Webern'': (a) Problems and Solutions; (b) Notation; (c) New Problems" ***56–63: "''Impromptu'': (a) Problems and Solutions; (b) Notation" ***64–81: "''Variations I''" ***82–88: "''Variations II''" *Vol. 4 "Young Composers" (1960) [vol. translated by Leo Black] **1–4: Wolf-Eberhard von Lewinski, "Young Composers" **5–13: Udo Unger, "

" **14–28: Gottfried Michael Koenig, "Henri Pousseur" **29–35: Rudolf Stephan, "Hans Werne Henze" **36–62:

, "Pierre Boulez. Decision and Automaticism in ''Structure 1a''" **63–80:

, "Intermezzo I: Just Who Is Growing Old?" **81–84: Intermezzo II uxtaposed excerpts from Theodor W. Adorno and Hellmut Kotschenreuther **85–88: Gottfried Michael Koenig, "Bo Nilsson" **89–97: Wolf-Eberhard von Leweinski, "Giselher Klebe" **98–102: Piero Santi, "

" **103–13: Reinhold Schubert, " Bernd Alois Zimmermann" **114–20: Giacomo Manzoni, "

" **121–34:

, "Karlheinz Stockhausen" **135: Wolf-Eberhard von Lewinski, "Conclusion" *Vol. 5 "Reports—Analyses" (1961) **3–20: Herbert Eimert, "Debussy's 'Jeux'" r. Leo Black**21–29:

, "Abortive Concepts in the Theory and Criticism of Music" r. Leo Black**30–39: Gottfried Michael Koenig, "Studium im Studio" r. Leo Black**40–55:

, "Tone, Clusters, Attacks, Transitions" r. Leo Black**56–58:

, "Some Remarks on Boulez' 3rd Piano Sonata" r. Leo Black**

, "Two Lectures": ***59–67: I "Electronic and Instrumental Music" r. Ruth Koenig***67–82: II "Music in Space" r. Ruth Koenig**83: Hans G. Helms, "John Cage's Lecture 'Indeterminacy'" r. Leo Black**84–120:

, "Lecture" *Vol. 6 "Speech and Music" (1964) **5–32: , "Mallarmé and Serialist Thought" r. Margaret Shenfield**33–39:

, "Brouillards. Tendencies in Debussy" r. Margaret Shenfield**40–64:

, "Music and Speech" r. Ruth Koenig**65–76: Nicolas Ruwet, "Contradictions within the Serial Language" r. Margaret Shenfield**77–93:

, "Music, Form and Practice (An Attempt to Reconcile Some Contradictions)" r. Margaret Shenfield *Vol. 7 "Form—Space" (1964) **5–19:

, "Metamorphoses of Musical Form" (tr.

Cornelius Cardew Cornelius Cardew (7 May 193613 December 1981) was an English experimental music composer, and founder (with Howard Skempton and Michael Parsons) of the Scratch Orchestra, an experimental performing ensemble. He later rejected experimental music, ...

) **20–25: , "

' Space Theatre" r. Cornelius Cardew**26–31: Christian Wolff, "On Form" **32–60:

, "Translation-Rotation" r. Cornelius Cardew**61–71: John Whitney, "Moving Pictures and Electronic Music" r. Cornelius Cardew**72–75: Rainer Fleischhauer, Jörn Janssen, "Project for 200,000 Inhabitants" r. Cornelius Cardew**76–85: Jörn Janssen, "Initial Project: Designed for Gottfried Michael Koenig" r. Cornelius Cardew *Vol. 8 "Retrospective" (1968) **5–6: Herbert Eimert, "Werner Meyer-Eppler" **7–10:

, "Musical Communication as a Problem of Information Theory" **11–24: Helmut Kirchmeyer, "On the Historical Constitution of a Rationalistic Music" **25–34: Walter Schulze-Andresen, "The Three-Dimensional Music Stave" **35–67: Walter O'Connell, "Tone Spaces" **68–79: Andriaan D. Fokker, "Wherefore, and Why?" **80–98: Gottfried Michael Koenig, "Commentary"

References

Cited sources

* * * * * * * * * * * * * * * * * *

External links

Issue 1
* {{DEFAULTSORT:Reihe, Die 1955 establishments in Austria Defunct magazines published in Austria German-language magazines English-language magazines Magazines established in 1955 Magazines disestablished in 1962 Magazines published in Vienna Contemporary classical music journals Music magazines published in the United Kingdom Music magazines published in the United States Serialism 1962 disestablishments in Austria

Origin

Character and history

English edition

Reception

Subject matter

German edition

English edition

References

Cited sources

Further reading

External links