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  • Cited by 7
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    This book has been cited by the following publications. This list is generated based on data provided by CrossRef.

    BERKOWITZ, AARON 2008. Experimental Actions, the Outcomes of Which Are Foreseen: Experiment and Tradition in Conlon Nancarrow's Studies nos 21 and 36 for Player Piano. twentieth-century music, Vol. 5, Issue. 02, p. 195.

    NEFF, SEVERINE 2009. An Unlikely Synergy: Lou Harrison and Arnold Schoenberg. Journal of the Society for American Music, Vol. 3, Issue. 02, p. 155.

    Denave, Laurent 2012. Un siècle de création musicale aux États-Unis. p. 369.

    Trinastic, Michael K. 2014. Dissonant Harmony and “Seed-Tones”. Music Theory Online, Vol. 20, Issue. 2,

    Rehding, Alexander 2016. Instruments of Music Theory. Music Theory Online, Vol. 22, Issue. 4,

    Batézat-Batellier, Pascale 2017. À la recherche d'une expérience esthétique en musique : analyse d'une action didactique conjointe autour de la recherche d'un son "musical" pour une production collective au piano. Questions vives recherches en éducation,

    Davis, Abe and Agrawala, Maneesh 2018. Visual rhythm and beat. ACM Transactions on Graphics, Vol. 37, Issue. 4, p. 1.

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    New Musical Resources
    • Online ISBN: 9780511597329
    • Book DOI: https://doi.org/10.1017/CBO9780511597329
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Book description

Since its original publication in 1930, Henry Cowell's New Musical Resources has become recognised as one of the few seminal technical studies to be written by a twentieth-century composer. In 1971, Virgil Thomson hailed it as 'a classic'. Cowell aimed to 'point out the influence the overtone series has exerted on music throughout its history, how many musical materials of all ages are related to it, and how … a large palette of musical materials can be assembled'. In this respect Cowell was anticipating many of the ideas to be realized in electronic music by Stockhausen and others. For this 1996 edition, David Nicholls has provided an explanatory essay and annotations to Cowell's text. The essay traces the sources for the book and attempts to place Cowell's theories in the broader context of musical modernism.

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