JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. guage and destroy the musical past, he has adamantly stuck to traditional notation in this as in his other works.) Each movement has its own tempo indication or performance description, such as Mecanique et tres sec or Lointain-Calme. Pedal markings are given in several movements, but not as meticulously as in Structures II, where Boulez specified the depth to which the pedals were to be pressed. No meter is ever indicated, but the work is divided into measures to facilitate reading. Except for the sixth movement, the work requires little technical virtuosity. The violence and rage of the Second Sonata have vanished, along with the coldness and mathematical nature of Structures.Boulez has said that he likes "works that resist easy comprehension." While Douze notations may not be easily comprehensible, it is the closest he has come to being readily understood. Full of variety and color, it is his least arrogant musical statement, his simplest piano composition, and the one most accessible to the general public. Werner Heider. Adamah; nach dem These four works, written by composers from Germany, France, and the United States and published in 1986, represent only a few of the pluralistic styles of piano writing in this decade. Serial elements are prominent in two, while the other two display elements of abstract atonality and impressionism. All are traditionally notated with only a few "special effects." Werner Heider's Adamah (1985), the most fascinating of the four, consists of twelve short movements, each written on one 113/4" x 16'/2" page. It is an eighteen-minute work
