Figure 1. Gloria Davy, Hans Werner Henze, and Ingeborg Bachmann at the after-party for the premiere of Nachtstücke . Photographs by Willy Pragher, “Gloria Davy und Hans Werner Henze,” October 20, 1957, Sammlung Willy Pragher, Staatsarchiv Freiburg. (a) Staatsarchiv Freiburg, W 134 Nr. 050080d. More about this image found in Gloria Davy, Hans Werner Henze, and Ingeborg Bachmann at the after-party fo...

(b) Staatsarchiv Freiburg, W 134 Nr. 050080e. More about this image found in (b) Staatsarchiv Freiburg, W 134 Nr. 050080e.

Figure 1. Strings of unmetered durations representing Maurice Emmanuel’s scansion of Euripedes’s Ion . More about this image found in Strings of unmetered durations representing Maurice Emmanuel’s scansion of ...

Example 1a. Olivier Messaien, Technique de mon langage musical ( TLM ) (1944), ex. 3 : “Râgavardhana, Hindu rhythm.” More about this image found in Olivier Messaien, Technique de mon langage musical (TLM) (1944), ex. 3 :...

Example 1b. TLM , ex. 5 : Râgavardhana, retrograded and subdivided by Messiaen, thereby illustrating three durational principles: the “added value” (marked by “+”), “inexact diminution” (cell B in relation to A), and “non-retrogradability” (cells A and B individually). More about this image found in TLM , ex. 5 : Râgavardhana, retrograded and subdivided by Messiaen, thereb...

Example 2. Pius Servien’s scansion of a passage from Rousseau’s Julie, ou La nouvelle Héloïse . More about this image found in Pius Servien’s scansion of a passage from Rousseau’s Julie, ou La nouvelle...

Example 3. Numerical representations of pitch and durational patterns of four leitmotivs in Wagner’s Tristan und Isolde out of twelve analyzed by Servien. For “intervals,” digits represent semitones ascended or descended (italics); for “durations,” digits represent units of eighth or quarter not... More about this image found in Numerical representations of pitch and durational patterns of four leitmoti...

Example 4. The deśītāla called “laksmiça,” as given in Western notation in Joanny Grosset, “Inde,” in Encyclopédie de la musique et dictionnaire du Conservatoire (1913), with durational ratio [2:3:4:8]. More about this image found in The deśītāla called “laksmiça,” as given in Western notation in Joanny Gros...

Example 5. The unmeasured opening solo of Olivier Messiaen, Cinq rechants (1948), with durational ratio [1:2:3:4:8:12]. More about this image found in The unmeasured opening solo of Olivier Messiaen, Cinq rechants (1948), wi...

Example 6. The “mode” of Mode de valeurs et d’intensités . More about this image found in The “mode” of Mode de valeurs et d’intensités .

Figure 2a. Cantéyodijayâ , p. 8, mm. 1–8, above, with “mode de durées, de hauteurs et d’intensités.” More about this image found in Cantéyodijayâ , p. 8, mm. 1–8, above, with “mode de durées, de hauteurs et ...

Figure 2b. Cantéyodijayâ , p. 12, mm. 8–13, below, with deśītālas “simhavikrama” and “gajajhampa.” More about this image found in Cantéyodijayâ , p. 12, mm. 8–13, below, with deśītālas “simhavikrama” and “...

Example 7a. The “mode” of Mode de valeurs et d’intensités , organized horizontally by Messiaen’s three “divisions” and rearranged vertically by intensity (dynamic). The representation shows at once the three twelve-tone aggregates emergent from Messiaen’s “divisions” (horizontal), and the three t... More about this image found in The “mode” of Mode de valeurs et d’intensités , organized horizontally by ...

Example 7b. A schematic representation of example 7a , reduced to pitch class and sorted by intensity, showing complementary pc set relations within groups A, B, and C. More about this image found in A schematic representation of example 7a , reduced to pitch class and sort...

Figure 1. Oxford, Bodleian Library, MS Bodley 38, fols. 19v–20r (verso and recto images digitally combined for illustrative purposes), showing the final notated chant and the beginning of the star timetable. Images: Bodleian Libraries, University of Oxford, reproduced under Creative Commons licens... More about this image found in Oxford, Bodleian Library, MS Bodley 38, fols. 19v–20r (verso and recto imag...

Example 1. A reconstruction of the prosula “Sancti spiritus gratia” and its parent responsory Sanctissime confessor Christi Benedicte (CAO 7598). Prosula neumes from Bodl. 38, fol. 17v; prosula and responsory pitches from Paris, Bibliothèque nationale de France, MS Lat. 12044, fol. 159r, adjuste... More about this image found in A reconstruction of the prosula “Sancti spiritus gratia” and its parent res...