Editing Process music (section)

==References==
{{reflist|19em}}

===Sources===
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* {{wikicite|ref={{harvid|Bernard|1995}}|reference=Bernard, Jonathan. 1995. "Carter and the Modern Meaning of Time". ''[[The Musical Quarterly]]'' 79, no. 4 (Winter): 644–682.}}
* {{wikicite|ref={{harvid|Brandt|1974}}|reference=Brandt, William E. 1974. "The Music of Elliott Carter: Simultaneity and Complexity". ''[[Music Educators Journal]]'' 60, no. 9 (May): 24–32.}}
* {{wikicite|ref={{harvid|Brown|2010}}|reference=Brown, Galen H. 2010. "Process as Means and Ends in Minimalist and Postminimalist Music". ''[[Perspectives of New Music]]'' 48, no. 2 (Summer): 180–192.}}
* {{wikicite|ref={{harvid|Christensen|2004}}|reference=Christensen, Erik. 2004. "Overt and Hidden Processes in 20th Century Music", in ''Process Theories: Crossdisciplinary Studies in Dynamic Categories'', edited by Johanna Seibt, 97–117. Dordrecht and London: Kluwer Academic Publishers. {{ISBN|1-4020-1751-0}}.}}
* {{wikicite|ref={{harvid|Edwards|1971}}|reference=Edwards, Allen. 1971. ''Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter''. New York: W. W. Norton.}}
* {{wikicite|ref={{harvid|Fritsch|1979}}|reference=[[Johannes Fritsch|Fritsch, Johannes]]. 1979. "Prozeßplanung". In ''Improvisation und neue Musik'', Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 20, edited by [[Reinhold Brinkmann]], 108–117. Mainz: B. Schott's Söhne.}}
* {{wikicite|ref={{harvid|Gann|1987}}|reference=[[Kyle Gann|Gann, Kyle]]. 1987. "Let X = X: Minimalism vs. Serialism". ''[[The Village Voice]]'' (24 February): 76.}}
* {{wikicite|ref={{harvid|Griffiths|2001}}|reference=[[Paul Griffiths (writer)|Griffiths, Paul]]. 2001. "Aleatory". ''[[The New Grove Dictionary of Music and Musicians]]'', 2nd edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
* {{wikicite|ref={{harvid|Griffiths|2011}}|reference=Griffiths, Paul. 2011. ''Modern Music and After'', 3rd edition. Oxford and New York: Oxford University Press. {{ISBN|978-0-19-974050-5}}.}}
* {{wikicite|ref={{harvid|Hopp|1998}}|reference=Hopp, Winrich. 1998. ''Kurzwellen von Karlheinz Stockhausen: Konzeption und musikalische Poiesis''. Kölner Schriften zur neuen Musik 6. Mainz; New York: Schott.}}
* {{wikicite|ref={{harvid|Kohl|1978}}|reference=[[Kohl, Jerome]]. 1978. "[http://www20.brinkster.com/improarchive/jk_7t.htm Intuitive Music and Serial Determinism: An Analysis of Stockhausen's ''Aus den sieben Tagen'']." ''[[In Theory Only]]'' 3, no. 2 (March): 7–19.}}
* {{wikicite|ref={{harvid|Kohl|1981}}|reference=Kohl, Jerome. 1981. ''Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968.'' Ph.D. diss., Seattle: University of Washington.}}
* {{wikicite|ref={{harvid|Kohl|2010}}|reference=Kohl, Jerome. 2010. "A Child of the Radio Age". In ''Cut & Splice: Transmission'', edited by Daniela Cascella and Lucia Farinati, 135–139. London: Sound and Music. {{ISBN|978-1-907378-03-4}}.}}
* {{NewMusicBox|id=annea-lockwood-beside-the-hudson-river|title=Annea Lockwood Beside the Hudson River|composer-link=Annea Lockwood|composer=Annea Lockwood|author=[[Frank J. Oteri|Oteri, Frank J.]]|conducted=November 11, 2003|published=January 1, 2004|ref={{harvid|Oteri|2004}}}} [https://nmbx.newmusicusa.org/annea-lockwood-beside-the-hudson-river/7/ ''Piano Transplants'']
* {{wikicite|ref={{harvid|Nyman|1974}}|reference=[[Michael Nyman|Nyman, Michael]]. 1974. ''Experimental Music. Cage and Beyond''. London: Studio Vista. {{ISBN|0-289-70182-1}} (2nd Edition, Cambridge and New York: Cambridge University Press, 1999. {{ISBN|0-521-65297-9}} (cloth); {{ISBN|0-521-65383-5}} (pbk)).}}
* {{wikicite|ref={{harvid|Reich|2002}}|reference=[[Steve Reich|Reich, Steve]]. 2002. "[http://www.columbia.edu/ccnmtl/draft/ben/feld/mod1/readings/reich.html Music as a Gradual Process (1968)]". In his ''Writings about Music, 1965–2000'', edited with an introduction by [[Paul Hillier]], 9–11. Oxford and New York: Oxford University Press. {{ISBN|978-0-19-511171-2}} (cloth); {{ISBN|978-0-19-515115-2}} (pbk).}}
* {{wikicite|ref={{harvid|Sabbe|1977}}|reference={{ill|Herman Sabbe|nl|lt=Sabbe, Herman}}. 1977. ''Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode 1950–1975'' [Musical Serialism as a Technique and as a Method of Thinking: A Study of the Logical and Historical Interconnections Between the Different Applications of the Serial Principle from the Period 1950–1975]. Ghent: Rijksuniversiteit te Gent.}}
* {{wikicite|ref={{harvid|Sabbe|1981}}|reference=Sabbe, Herman. 1981. "Die Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goeyvaerts". In ''Musik-Konzepte 19: Karlheinz Stockhausen: ... wie die Zeit verging ...'', edited by [[Heinz-Klaus Metzger]] and [[Rainer Riehn]], 5–96. Munich: Edition Text + Kritik.}}
* {{wikicite|ref={{harvid|Schiff|1998}}|reference=[[David Schiff|Schiff, David]]. 1998. ''The Music of Elliott Carter'', second edition. Ithaca, New York: Cornell University Press.}}
* {{wikicite|ref={{harvid|Seibt|2004}}|reference=Seibt, Johanna (ed.). 2004. ''Process Theories: Crossdisciplinary Studies in Dynamic Categories''. Dordrecht and London: Kluwer Academic Publishers. {{ISBN|978-1-4020-1751-3}}.}}
* {{cite book|last=Wannamaker|first=Robert|url=https://www.press.uillinois.edu/books/?id=c043673|title=The Music of James Tenney|volume=1: Contexts and Paradigms|publisher=University of Illinois Press|year=2021|isbn=978-0-252-04367-3}}
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