Abstract
Although James Wood has been in the forefront of contemporary music as both choral conductor and percussionist, directing the New London Chamber Choir in many new works, and organizing the Darmstadt Summer School Percussion Course for several years, his own compositions have little in common with the mainstream of postwar European music. It might be assumed that his interest in ancient Greek rhythms, together with their Indian and Chinese equivalents, stems from his association with the music of Xenakis; but he has never shown any inclination to use complex mathematical formulae, and has probably been less concerned than almost any other contemporary composer with the organization of pitch.
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