World New Music Magazine #03 – 1993

The cover for World New Music Magazine, Issue #3 (1993)

Year: 1993

Edited by Reinhard Oehlschlägel, Graciela Paraskevaidis, and Richard Tsang
Managing Editor: Gisela Gronemeyer

Below is a complete list of the contents of WNMM 3:

  • Coriún Aharonián, “A Direct, Simple Message: Héctor Tosar: a transitional composer of mid century,” pp. 64-70;
  • Coriún Aharonián, “Letter to the Editors (re: Report from the Argentine Section WNMM 2),” pp. 152-154;
  • José Antonio Alcaraz, “Constellation and Tide: Evolution in Mexican art music,” pp. 83-91;
  • Julio Estrada, “Rejection, repulse, neglect and ignorance: To be and must be of music in Mexico,” pp. 79-83;
  • Monika Fürst-Heidtmann, “Authenticity without folklore: The Venezuelan Composer Alfredo de Monaco,” pp. 70-74;
  • Kyle Gann, “Philosopher No More: He Quietly Started a Spiritual Revolution,” pp. 98-101;
  • Kyle Gann, “Postugly Music: Bang on a Can,” pp. 101-102;
  • Peter Garland, “Music as Color, Sculpture and Movement: Homage to Silvestre Revueltas,” pp. 75-79;
  • Manfred Karallus, “Self-Edition: Karlheinz Stockhausen’s Complete Works Released on CD,” pp. 109-111;
  • Frank Kouwenhoven, “Out of the Desert: Mainland China’s New Music,” pp. 13-45;
  • Lojze Lebic, “Time of new unitings: Speech and appeal at the General Assembly in Warsaw, 1992,” pp. 129-130;
  • John McAlpine, “Beneath the Long White Cloud: Contemporary Music in New Zealand since 1940,” pp. 7-12;
  • Reinhard Oehlschlägel, “Concept of a New Humanity: On the Death of the Flemish Composer Karel Goeyvaerts,” pp. 93-94;
  • Reinhard Oehlschlägel, “From Salzburg to Ciudad de México: The International Society for New Music at the Crossroads,” pp. 3-6;
  • Nam June Paik, “B.C. / A.D. John Cage,” pp. 95-97;
  • Dana Palionytė, “A Bit of Lithuanian History: Jeronimas Kačinskas and Vytautas Bacevičius,” pp. 51-54;
  • Graciela Paraskevaidis, “The Own and the Other: The Argentinian Composer Gerardo Gandini” pp. 59-64;
  • Karl Aage Rasmussen, “A Mirror in a Mirror: Per Nørgård’s discovery journey of the ears,” pp. 55-58;
  • Elliott Schwartz, “The idea of ‘accessibility’: 1992 Warsaw ISCM,” pp. 113-117;
  • Lina Semowa, “Distance and Proximity: The First International Festival of Contemporary Music in Bulgaria,” pp. 103-105;
  • Zana Shuteriqi, “Even the Bad Has Some Good in It: New Music in Albania,” pp. 46-50;
  • Alicia Terzian, “World Music Days Warsaw 1992: A Commentary Report,” pp. 118-120;
  • Michael Whiticker, “A Cornucopia of Riches: The Asia Pacific Festival 1992,” pp. 105-107;
  • Unattributed, “Trendendous Development: Composers Association of Thailand,” p. 108.
  • Unattributed (Polish Section), “The World Music Days Warsaw, 15th-23rd May, 1992: Organizer’s Report,” pp. 120-121;

In addition, WNMM 3 contains the following internal ISCM documents:

  • Michael Finnissy, “(ISCM) President’s Report,” p. 122
  • Executive Committee of the ISCM, “(ISCM) Presidential Council’s Report,” pp. 122-123;

  • Minutes of the ISCM General Assembly in Warsaw (18-22 May 1992) pp. 123-129;

  • ISCM Section Reports 1992/93, pp. 131-152

  • [Argentine Section (Alicia Terzian), Austrian Section (Lothar Knessl), British Section (Richard Steele), China-Taipei Section (unattributed), Dutch Section (Henk Heuvelmans), Finnish Section (Tapio Tuomela), French Section (Fernand Vandenbogaerde), German Section (Ulf Werner), Hong Kong Section (unattributed); Icelandic Section (John Speight), Israeli Section (Menachem Zur), Italian Section (Vittorio Fellegara), Malaysian Section (Valerie Ross), Norwegian Section (Geir Johnson), Polish Section (unattributed), Romanian Section (Liviu Danceanu), Swedish Section (Arne Mellnäs), Swiss Section (Fritz Muggler), Uruguayan Section (Eduardo Fernández), U.S. Section (Geoffrey Kidde), Yugoslav Section (Srdjan Hoffman)].