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	<title>PostClassic</title>
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	<description>Kyle Gann on music after the fact</description>
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		<title>On Bristow&#8217;s Arcadian Symphony and Being Snubbed by Bridge Records</title>
		<link>https://www.artsjournal.com/postclassic/2022/08/on-bristows-arcadian-symphony-and-being-snubbed-by-bridge-records.html</link>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Thu, 11 Aug 2022 14:03:43 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">https://www.artsjournal.com/postclassic/?p=2686</guid>

					<description><![CDATA[Bridge Records has just released a recording &#8211; the first full recording &#8211; of the Fourth Symphony, &#8220;Arcadian,&#8221; by 19th-century American composer George Bristow. This recording would never have happened without me, but you&#8217;d never know that from the CD itself. In college I studied with Delmer Rogers, who wrote the first doctoral dissertation on [&#8230;]]]></description>
		
		
		
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		<title>Richard Fleming on Homer, Joyce, and Cage</title>
		<link>https://www.artsjournal.com/postclassic/2021/08/richard-fleming-on-homer-joyce-and-cage.html</link>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Wed, 11 Aug 2021 19:36:18 +0000</pubDate>
				<category><![CDATA[Uncategorized]]></category>
		<guid isPermaLink="false">https://www.artsjournal.com/postclassic/?p=2683</guid>

					<description><![CDATA[My good friend the philosopher Richard Fleming has written a wonderful, long essay called &#8220;Want of Sense&#8221; &#8211; or, alternatively, &#8220;homerjoycecage&#8221; &#8211; and I return to the blog after a long absence to draw some attention to it. In it, he draws an epic historical thread from the Iliad and the Odyssey to Joyce&#8217;s complex [&#8230;]]]></description>
		
		
		
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		<title>Another Do-It-Yourselfer</title>
		<link>https://www.artsjournal.com/postclassic/2016/08/another-do-it-yourselfer.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/08/another-do-it-yourselfer.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Wed, 24 Aug 2016 13:54:56 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2549</guid>

					<description><![CDATA[Thanks to an unencumbered and rather inspired summer, I am more than halfway through an evening-length collection of pieces for three microtonally retuned Disklaviers. I&#8217;m calling it Hyperchromatica, because a melodic reliance on intervals smaller than a quarter-tone is about the only stylistic constant. 33 pitches to the octave. Most of the pieces have polytempo [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/postclassic/2016/08/another-do-it-yourselfer.html/feed</wfw:commentRss>
			<slash:comments>5</slash:comments>
		
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		<title>An Analytical Cornucopia, Wanted or Not</title>
		<link>https://www.artsjournal.com/postclassic/2016/05/an-analytical-cornucopia-wanted-or-not.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/05/an-analytical-cornucopia-wanted-or-not.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Thu, 26 May 2016 20:00:16 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2539</guid>

					<description><![CDATA[Over the last eleven years, I&#8217;ve given at least twenty-two keynote addresses and conference papers, and in recent weeks I&#8217;ve managed to post all but six of them (three of those rather redundant, given my other writings) on my web site. I also didn&#8217;t put up my keynote to the 2013 Earle Brown conference in [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/postclassic/2016/05/an-analytical-cornucopia-wanted-or-not.html/feed</wfw:commentRss>
			<slash:comments>3</slash:comments>
		
		
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		<title>Me and My World</title>
		<link>https://www.artsjournal.com/postclassic/2016/05/me-and-my-world.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/05/me-and-my-world.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Sat, 14 May 2016 09:44:53 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2533</guid>

					<description><![CDATA[Bari &#8211; Pianist Emanuele Arciuli, director of the &#8220;Embracing the Universe&#8221; festival that ended yesterday, likes to casually mention that America is currently producing the best music in the world &#8211; and he doesn&#8217;t mean pop or jazz. He means postclassical. I didn&#8217;t know the whole program when I first wrote about it last week, [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/postclassic/2016/05/me-and-my-world.html/feed</wfw:commentRss>
			<slash:comments>9</slash:comments>
		
		
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		<title>Dream Gig for Totalists</title>
		<link>https://www.artsjournal.com/postclassic/2016/05/dream-gig-for-totalists.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/05/dream-gig-for-totalists.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Mon, 02 May 2016 20:11:28 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2529</guid>

					<description><![CDATA[Next week, May 9-12, Bari Conservatory in southern Italy, on the Adriatic, is hosting a totalism festival, titled &#8220;Embracing the Universe.&#8221;Â It was organized and is directed by pianist Emanuele Arciuli, who is perhaps Italy&#8217;s greatest advocate for recent American music of aÂ more populist bent. (I had announced the festival for last September, but it was [&#8230;]]]></description>
		
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			<slash:comments>3</slash:comments>
		
		
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		<title>The Rampant Generation of Audio Files Continues</title>
		<link>https://www.artsjournal.com/postclassic/2016/02/the-rampant-generation-of-audio-files-continues.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/02/the-rampant-generation-of-audio-files-continues.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Wed, 24 Feb 2016 19:31:50 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2519</guid>

					<description><![CDATA[It&#8217;s remotely conceivable that you&#8217;re sitting around with nothing to do, and in case you&#8217;re in that enviable position, I have two hours&#8217; worth of new recordings of my music up to entertain you. Most consequentially, my Ezra Pound song cycle ProenÃ§a (2015) received its official premiere Saturday night in Kansas City; Michelle Allen McIntire [&#8230;]]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/postclassic/2016/02/the-rampant-generation-of-audio-files-continues.html/feed</wfw:commentRss>
			<slash:comments>8</slash:comments>
		
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		<title>Three New Works</title>
		<link>https://www.artsjournal.com/postclassic/2016/02/three-new-works.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/02/three-new-works.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Wed, 03 Feb 2016 03:52:49 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2514</guid>

					<description><![CDATA[I am excited that I&#8217;m going to have three world premieres within eight days this month, amounting to some two hours of music. On February 12 and 13 I am the featured composer at the Symposium of Contemporary Music at Illinois Wesleyan in Bloomington, Illinois. On Friday, February 12, I give a lecture at 7:30 [&#8230;]]]></description>
		
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			<slash:comments>2</slash:comments>
		
		
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		<title>A Gangster for Capitalism</title>
		<link>https://www.artsjournal.com/postclassic/2016/01/a-gangster-for-capitalism.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/01/a-gangster-for-capitalism.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Thu, 28 Jan 2016 00:01:36 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2509</guid>

					<description><![CDATA[Just became aware that Sarah Cahill&#8217;s recording of my piece War Is Just a Racket is up at YouTube with John Sanborn&#8217;s video for it, which I hadn&#8217;t seen since the premiere in 2009.]]></description>
		
					<wfw:commentRss>https://www.artsjournal.com/postclassic/2016/01/a-gangster-for-capitalism.html/feed</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
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		<title>Needle Found in Haystack</title>
		<link>https://www.artsjournal.com/postclassic/2016/01/needle-found-in-haystack.html</link>
					<comments>https://www.artsjournal.com/postclassic/2016/01/needle-found-in-haystack.html#comments</comments>
		
		<dc:creator><![CDATA[Kyle Gann]]></dc:creator>
		<pubDate>Fri, 22 Jan 2016 23:04:41 +0000</pubDate>
				<category><![CDATA[main]]></category>
		<guid isPermaLink="false">http://www.artsjournal.com/postclassic/?p=2506</guid>

					<description><![CDATA[A correspondent named Tim Scott has found a typo in the Tableau Comparatif des Intervalles Musicaux, Alain Danielou&#8217;s encyclopedic 1958 catalogue of all even marginally significant intervals within an octave. On the right-hand bottom corner of page 48, the interval listed as 569/512 should actually be 567/512, as 3 to the 4th power times 7 [&#8230;]]]></description>
		
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			<slash:comments>7</slash:comments>
		
		
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