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<dc:creator>de Valk, Marloes</dc:creator>
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<title>Musical Form and Algorithmic Composition</title>
<dc:title>Musical Form and Algorithmic Composition</dc:title>
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<dc:creator>Collins, Nick</dc:creator>
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<prism:number>1</prism:number>
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<title>Artists' Statements</title>
<dc:title>Artists' Statements</dc:title>
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<dc:identifier rdf:resource="doi:10.1080/07494460802664080" />
<prism:volume>28</prism:volume>
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<title>Preface: Music of Nicolaus A. Huber and Mathias Spahlinger</title>
<dc:title>Preface: Music of Nicolaus A. Huber and Mathias Spahlinger</dc:title>
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<dc:creator>Blume, Philipp</dc:creator>
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<prism:number>6</prism:number>
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<title>Critical Composition</title>
<dc:title>Critical Composition</dc:title>
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</description>
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<dc:creator>Huber, Nicolaus A.</dc:creator>
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<title>Translation of Huber's Essay 'Konzeptionelle Rhythmuskomposition' on Conceptional Rhythm Composition</title>
<dc:title>Translation of Huber's Essay 'Konzeptionelle Rhythmuskomposition' on Conceptional Rhythm Composition</dc:title>
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<dc:identifier rdf:resource="doi:10.1080/07494460802410294" />
<dc:creator>Huber, Nicolaus A.</dc:creator>
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<title>this is the time of conceptive ideologues no longer</title>
<dc:title>this is the time of conceptive ideologues no longer</dc:title>
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</description>
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<dc:creator>spahlinger, mathias</dc:creator>
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<prism:number>6</prism:number>
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<title>Aspect and Ascription in the Music of Mathias Spahlinger</title>
<dc:title>Aspect and Ascription in the Music of Mathias Spahlinger</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802410328" />
<dc:creator>Kane, Brian</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>6</prism:number>
<prism:startingPage>595</prism:startingPage>
<prism:endingPage>609</prism:endingPage>
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<title>Concertare Means Reaching an Agreement: On Mathias Spahlinger's 'Piano Concerto' inter-mezzo  (1986)</title>
<dc:title>Concertare Means Reaching an Agreement: On Mathias Spahlinger's 'Piano Concerto' inter-mezzo  (1986)</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802410336" />
<dc:creator>Sch&#xfc;le, Dorothea</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>6</prism:number>
<prism:startingPage>611</prism:startingPage>
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<title>Mathias Spahlinger's 128 erf&#xfc;llte augenblicke and the Parameters of Listening</title>
<dc:title>Mathias Spahlinger's 128 erf&#xfc;llte augenblicke and the Parameters of Listening</dc:title>
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<dc:identifier rdf:resource="doi:10.1080/07494460802410344" />
<dc:creator>Blume, Philipp</dc:creator>
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<prism:number>6</prism:number>
<prism:startingPage>625</prism:startingPage>
<prism:endingPage>642</prism:endingPage>
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<title>Nicolaus A. Huber: 'An H&#xf6;lderlins Umnachtung'</title>
<dc:title>Nicolaus A. Huber: 'An H&#xf6;lderlins Umnachtung'</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802410351" />
<dc:creator>Schwehr, Cornelius</dc:creator>
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<prism:number>6</prism:number>
<prism:startingPage>643</prism:startingPage>
<prism:endingPage>653</prism:endingPage>
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<title>The Height of the Breadth: Pop Culture Infiltrations in the Music of Nicolaus A. Huber</title>
<dc:title>The Height of the Breadth: Pop Culture Infiltrations in the Music of Nicolaus A. Huber</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802410377" />
<dc:creator>Seidl, Hannes</dc:creator>
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<prism:number>6</prism:number>
<prism:startingPage>655</prism:startingPage>
<prism:endingPage>664</prism:endingPage>
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<title>The Rest is History&#x2014;Mathias Spahlinger and Hans Heinrich Eggebrecht on Utopia in New Music</title>
<dc:title>The Rest is History&#x2014;Mathias Spahlinger and Hans Heinrich Eggebrecht on Utopia in New Music</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802410393" />
<dc:creator>Music, Petra</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>6</prism:number>
<prism:startingPage>665</prism:startingPage>
<prism:endingPage>672</prism:endingPage>
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<title>Notes on Contributors</title>
<dc:title>Notes on Contributors</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802499594" />
<prism:volume>27</prism:volume>
<prism:number>6</prism:number>
<prism:startingPage>673</prism:startingPage>
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<title>Preface</title>
<dc:title>Preface</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802386817" />
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>387</prism:startingPage>
<prism:endingPage>388</prism:endingPage>
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<title>Ralph Shapey's Apprenticeship with Stefan Wolpe</title>
<dc:title>Ralph Shapey's Apprenticeship with Stefan Wolpe</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802367023" />
<dc:creator>Clarkson, Austin</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>389</prism:startingPage>
<prism:endingPage>405</prism:endingPage>
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<title>Shapey: In His Own Voice</title>
<dc:title>Shapey: In His Own Voice</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802366991" />
<dc:creator>Baron, Carol K.</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>407</prism:startingPage>
<prism:endingPage>432</prism:endingPage>
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<title>Opposites Interact: Motivic Organization in Shapey's Clarinet Concerto</title>
<dc:title>Opposites Interact: Motivic Organization in Shapey's Clarinet Concerto</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802188536" />
<dc:creator>Rogers, Lynne</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>433</prism:startingPage>
<prism:endingPage>449</prism:endingPage>
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<title>Ralph Shapey and the Search for a New Concept of Musical Continuity, 1954-1958</title>
<dc:title>Ralph Shapey and the Search for a New Concept of Musical Continuity, 1954-1958</dc:title>
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<description>
</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802367007" />
<dc:creator>Wiener, Barry</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>451</prism:startingPage>
<prism:endingPage>476</prism:endingPage>
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<title>Montage and Block Form in Ralph Shapey's Seven for Two Pianos</title>
<dc:title>Montage and Block Form in Ralph Shapey's Seven for Two Pianos</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802369888" />
<dc:creator>Satyendra, Ramon</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>477</prism:startingPage>
<prism:endingPage>487</prism:endingPage>
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<title>How to Be; What to Do: Character and Action in Ralph Shapey's String Quartet No. 6</title>
<dc:title>How to Be; What to Do: Character and Action in Ralph Shapey's String Quartet No. 6</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802188445" />
<dc:creator>Mead, Andrew</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>489</prism:startingPage>
<prism:endingPage>509</prism:endingPage>
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<title>The 'Mother Lode', the Gottlieb Duo , and Ralph Shapey's Compositional Strategy in the Early 1980s</title>
<dc:title>The 'Mother Lode', the Gottlieb Duo , and Ralph Shapey's Compositional Strategy in the Early 1980s</dc:title>
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<description>
</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802188494" />
<dc:creator>Kaplan, Amelia S.</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>511</prism:startingPage>
<prism:endingPage>529</prism:endingPage>
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<title>The Fragments of Redemption: Utopian Dimensions in the Music of Ralph Shapey</title>
<dc:title>The Fragments of Redemption: Utopian Dimensions in the Music of Ralph Shapey</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802188486" />
<dc:creator>Abbinanti, Frank</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>531</prism:startingPage>
<prism:endingPage>557</prism:endingPage>
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<title>Notes on Contributors</title>
<dc:title>Notes on Contributors</dc:title>
<link>http://www.informaworld.com/smpp/content~content=a903410215~db=all~jumptype=rss</link>
<description>
</description>
<dc:identifier rdf:resource="doi:10.1080/07494460802386742" />
<prism:volume>27</prism:volume>
<prism:number>4</prism:number>
<prism:startingPage>559</prism:startingPage>
<prism:endingPage>560</prism:endingPage>
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<title>Foreword</title>
<dc:title>Foreword</dc:title>
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</description>
<dc:identifier rdf:resource="doi:10.1080/07494460801999230" />
<dc:creator>Clarkson, Austin</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>2</prism:number>
<prism:startingPage>165</prism:startingPage>
<prism:endingPage>169</prism:endingPage>
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<title>What is Film Music?</title>
<dc:title>What is Film Music?</dc:title>
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<description>
</description>
<dc:identifier rdf:resource="doi:10.1080/07494460801990155" />
<dc:creator>Shin, Hyesu</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>2</prism:number>
<prism:startingPage>171</prism:startingPage>
<prism:endingPage>177</prism:endingPage>
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<title>What is Jewish Music?</title>
<dc:title>What is Jewish Music?</dc:title>
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<description>
</description>
<dc:identifier rdf:resource="doi:10.1080/07494460801951215" />
<dc:creator>Clarkson, Austin</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>2</prism:number>
<prism:startingPage>179</prism:startingPage>
<prism:endingPage>192</prism:endingPage>
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<title>The Frances Parker Lecture</title>
<dc:title>The Frances Parker Lecture</dc:title>
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<description>
</description>
<dc:identifier rdf:resource="doi:10.1080/07494460801951249" />
<dc:creator>Wolpe, Stefan</dc:creator>
<prism:volume>27</prism:volume>
<prism:number>2</prism:number>
<prism:startingPage>193</prism:startingPage>
<prism:endingPage>200</prism:endingPage>
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