Online ordering is currently unavailable due to technical issues. We apologise for any delays responding to customers while we resolve this. For further updates please visit our website: https://www.cambridge.org/news-and-insights/technical-incident
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure coreplatform@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Close examination of John Adams's oeuvre reveals that symmetry is one of the predominant features of his music. Three common types of symmetry are encountered in Adams's works: reflection, translation and rotation. This article investigates these symmetries and tracks their development throughout Adams's compositional career. An analysis of selected works from the 1970s (China Gates and Phrygian Gates), 1980s (Grand Pianola Music and Fearful Symmetries) and 1990s (the Violin Concerto and Century Rolls) highlights the most pervasive symmetry in each decade and shows a shift from preconceived overarching symmetries that frame entire musical structures to smaller-level symmetries that affect the music at a level of phrase and motivic structure.
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.