@article {Creshevsky:2001:0749-4467:91,
title = "On borrowed time",
journal = "Contemporary Music Review",
parent_itemid = "infobike://routledg/gcmr",
publishercode ="routledg",
year = "2001",
volume = "20",
number = "4",
publication date ="2001-01-01T00:00:00",
pages = "91-98",
itemtype = "ARTICLE",
issn = "0749-4467",
eissn = "1477-2256",
url = "https://www.ingentaconnect.com/content/routledg/gcmr/2001/00000020/00000004/art00007",
doi = "doi:10.1080/07494460100640311",
keyword = "soundprint, Klangfarbenmelodie, electroacoustic, Pop Art, sample, multicultural(ism)",
author = "Creshevsky, Noah",
abstract = "The unlimited musical resources that are currently available invite the use of expanded sonic palettes. As lines between cultures and national styles become blurred through evolutions in social, political, and technological realities, the time is right for the development of new and flexible musical vocabularies. Composition with twelve notes and traditional instruments remains a fertile path, but it is also possible to compose natural and expressive music that uses a large battery of sounds. Sometimes less is more; sometimes more is more. Creshevsky's compositions have centered on the hypothesis that economy is not necessarily a virtue. Bounty invites celebration. Creshevsky sets out to broaden the sonic palette by borrowing samples of pre-existent music. Along the way, he has unexpectedly found a new and active relationship with the past.",
}