Benjamin Boretz
American composer
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Benjamin Boretz's Degrees
- PhD Music Composition Columbia University
- Masters Music Composition Columbia University
- Bachelors Music Columbia University
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(Suggest an Edit or Addition)According to Wikipedia, Benjamin Aaron Boretz is an American composer and music theorist. Life and work Benjamin Boretz was born in Brooklyn, New York to Abraham Jacob Boretz and Leah Boretz. He graduated with a degree in music from Brooklyn College in 1954, studied composition with Tadeusz Kassern, and later studied composition at Brandeis University with Arthur Berger and Irving Fine, with Darius Milhaud at the Aspen Music Festival and School, with Lukas Foss at UCLA, and with Milton Babbitt and Roger Sessions at Princeton University. Boretz was one of the first composers to work with computer-synthesized sound . In the late 1970s and 1980s he converged his compositional and pedagogical practices in a project of real-time improvisational music-making, culminating in the formation at Bard College of the music-learning program called Music Program Zero, which flourished until 1995. He has written extensively on musical issues, as critic, theorist, and musical philosopher, from the perspective of a practicing composer. His earliest large-scale music-intellectual essay was the book-length "Meta-Variations, Studies in the Foundations of Musical Thought," which addresses the epistemological questions involved in the cognition and composition of music, and propounds a radically relativistic/individualistic/ontological reconstruction of the musical creative process. Later, in 1978, his text composition "Language, as a Music, Six marginal Pretexts for Composition" engaged questions of the origin and nature of language and meaning as they might be conceived from the perspective of music.
Benjamin Boretz's Published Works
Published Works
- Audible traces : gender, identity and music (1999) (43)
- Meta-Variations: Studies in the Foundations of Musical Thought (I) (1969) (33)
- Perspectives on Schoenberg and Stravinsky (1983) (23)
- Meta-Variations, Part IV: Analytic Fallout (II) (1972) (23)
- Perspectives of New Music (1963) (22)
- Perspectives on contemporary music theory (1979) (20)
- Sketch of a Musical System (Meta-Variations, Part II) (1970) (19)
- Nelson Goodman's Languages of Art from a Musical Point of View (1970) (18)
- Musical Syntax (II) (1971) (16)
- Breaking the Sound Barrier : A Critical Anthology of the New Music (1981) (12)
- what is valuable in art, and can music still achieve it? (1989) (11)
- Aspects of Musical Explanation (1979) (11)
- What Lingers on (, When the Song Is Ended) (1977) (9)
- Conversation with Elliott Carter (1970) (9)
- Perspectives on Notation and Performance (1976) (8)
- The Construction of Musical Syntax (I) (1970) (7)
- Perspectives of new music, an index, 1962-1982 (1984) (6)
- Music Inside Out: Going Too Far in Musical Essays (2014) (6)
- Experiences with No Names (1992) (4)
- Language, as a Music (1979) (3)
- The Logic of What (1989) (3)
- "Where Have We Met Before?" For a 90th Birthday Celebration of Milton Babbitt (2021) (2)
- A World of Times (1973) (2)
- Being about music: Textworks 1960-2003 (2003) (2)
- Regretting John Cage and Kenneth Gaburo: A Gathering of Texts (1993) (2)
- Interface Part I: Commentary: The Barrytown Orchestra on Hunger Day November 15, 1984 (1985) (1)
- music as anti theater (2014) (1)
- What did Milton mean by his music (2012) (1)
- On Thinking about Various Issues Induced by the Problem of Discovering That One Is Not a 'Composer', and That the Space Which One Inhabits Musically Is Not 'America' (1989) (1)
- Afterward (: A Foreword) (1983) (1)
- T he Z eitgeist of P erspectives , ab origine (2012) (1)
- The Inner Studio (Strategies for Retrieving Reality in Music Experience and Practice) (Interface: Part VI) (1991) (0)
- Editors' Notebook: Ben Boretz and Bob Morris Discuss Ian Quinn's "General Equal-Tempered Harmony" (2021) (0)
- Group Variations II (2011) (0)
- On Milton'S Language (2012) (0)
- The memory of all that (2012) (0)
- Personae / Acknowledgement (2021) (0)
- Text for the Society for Music Theory Oakland, California 9 November 1990 on "J. K. Randall's Writings during the 1970s" (1992) (0)
- I. In Theory Only. II. Rhythm, and Talk about It: Two Replies (1977) (0)
- Harold Shapero at Brandeis in memoriam (1920–2013) (2013) (0)
- MILTON BABBITT AND THE AMERICAN MAINSTREAM (2012) (0)
- On Reading Each Other (And Reflecting on Your Texts and Your Music) (2021) (0)
- Jim Randall: An Autobiography (2014) (0)
- Vignettes of Old Masters VIII: Two Pieces by Robert Morris (A Review and a Liner Note) (2014) (0)
- A Question, A Rose: for violin alone (2021) (0)
- A Note on Discourse and Contemporary Musical Thought (1966) (0)
- Robert Morris at 70 (2014) (0)
- UNITED STATESEvanston, III (1961) (0)
- Serial Composition and Atonality@@@Serial Composition and Atonality. An Introduction to the Music of Schoenberg, Berg, and Webern (1963) (0)
- Some Emails to, and from, Ben (2021) (0)
- My Chart Shines High Where the Blue Milks Upset... (1976) (0)
- A ((P)Re)View of Elaine Barkin's Twenty-Year Retrospective Collection of Her Works for Print (1996) (0)
- (“…the sun poured molten glass on the fields…”) piano music for Bob Morris at 70 (2014) (0)
- Some Things I've Been Noticing, Some Things I've Been Doing, Some Things I'm Going to Need to Think Some More about (1992) (0)
- Rainyday Reflections (2021) (0)
- On One on One (2018) (0)
- Moments Musicaux for Roger Sessions in Celebration of His Plus 80 Years (1978) (0)
- "Words for Music, Perhaps"? Texts, 1975-2013 (2013) (0)
- Togetherness (2021) (0)
- T he H istory of P erspectives (2012) (0)
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