JAVS Spring 2019

Jacob Adams is Assistant Professor of Viola at the University of Alabama. He was Festival program coordinator for the 2018 AVS Festival and serves on the board of the American Viola Society.

Rochberg, George. “Polarity in Music: Symmetry and Asymmetry and their Consequences,” Proceedings of the American Philosophical Society 141, No. 2 (June, 1997): 174-175.

Rochberg, George. Sonata for Viola and Piano. Bryn Mawr: Theodore Presser Company, 1980.

Editor’s note: In the previous issue, Dr. Adams’s name was mistakenly omitted in the acknowledgements for the 2018 AVS Festival. He was instrumental in the success of the festival in his many roles, not the least in serving as the Chair of the Festival Proposal Submission Committee. I deeply regret this omission.

Rochberg, George. String Quartet No. 6. Bryn Mawr: Theodore Presser Company, 1979.

Taruskin, Richard. “After Everything.” In The Oxford History of Western Music, vol. 5 Oxford: Oxford University Press, 2005. Wierzbicki, James. “Reflections on Rochberg and “Postmodernism”.” Perspectives of New Music 45, no. 2 (2007). 108-132.

Bibliography

Brunner, Lance W. Notes 38, no. 2 (1981): 233-450.

Dickinson, Peter. Music & Letters 65, no. 1 (1984): 130.

Dixon, Joan DeVee. George Rochberg: A Bio-bibliographic Guide to His Life and Works. Stuyvesant: Pendragon Press, 1992. Gross, Robert. “Rochberg the Progressive, Revisited: An Analysis of the Third String Quartet.” Perspectives of New Music 51, no. 2 (2013): 192-241.

Notes

1 Dixon, Joan DeVee. George Rochberg: A Bio bibliographic Guide to His Life and Works (Stuyvesant: Pendragon Press, 1992), xvii. 2 Rochberg, George. Five Lines Four Spaces: The World of My Music (Urbana and Chicago: University of Illinois Press, 2009), 225. Rochberg refers to this as a hieroglyph to “emphasize its symbolic, magical property.” 3 Rochberg, 225. 4 Rochberg, 98. 5 Rochberg, George. “Can the Arts Survive Modernism? (A Discussion of the Characteristics, History, and Legacy of Modernism).” Critical Inquiry 11, no. 2 (1984): 332. 6 Most prominently, the 1972 premiere of Rochberg’s String Quartet No. 3 is highlighted in Richard Taruskin’s voluminous Oxford History of Western Music as being the beginning point of “the postmodernist turn in music.” See Richard Taruskin, “After Everything,” in The Oxford History of Western Music, vol. 5 (Oxford: Oxford University Press), 414. Wierzbicki, James. “Reflections on Rochberg and “Postmodernism”.” Perspectives of New Music 45, no. 2 (2007): 108. 7 George Rochberg, “Polarity in Music: Symmetry and Asymmetry and their Consequences,” Proceedings of the American Philosophical Society 141, No. 2 (June, 1997): 174-175.

Kramer, Jonathan D. “Can Modernism Survive George Rochberg?” Critical Inquiry 11, no. 2 (1984): 341-54.

Reise, Jay. “Rochberg the Progressive,” Perspectives of New Music 19, No. 1/2 (Autumn, 1980–Summer, 1981): 395–407. Rochberg, George. The Aesthetics of Survival: A Composer’s View of Twentieth-Century Music . Ann Arbor: University of Michigan Press, 2004. Rochberg, George. “Can the Arts Survive Modernism? (A Discussion of the Characteristics, History, and Legacy of Modernism).” Critical Inquiry 11, no. 2 (1984): 317-40.

Rochberg, George. Concerto for Violin and Orchestra . Byrn Mawr: Theodore Presser Company, 1977.

Rochberg, George. Five Lines Four Spaces: The World of My Music. Urbana and Chicago: University of Illinois Press, 2009.

18

Journal of the American Viola Society / Vol. 35, No. 1, Spring 2019