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Aesthetic foundations of Musique concréte instrumentale in the early works of Helmut Lachenmann Iyad A. MohammadBelarusian State Academy of Music BuletinNo. 4m Pp.74-78Belarusian State Academy of 2003
The theory of perception in the aesthetic conception of Helmut Lachenmann: a “redefinition” trial of the “functional” aspect of music Iyad A. MohammadContemporary Music Review Vol. 23, No. 3, Pp. 91-95Taylor & Francis2004
What has Lachenmann done with my Mozart?! A note on whatever is recorded on the tape in Accanto Iyad A. MohammadContemporary Music Review Vol. 23, No. 4m pp. 21-23Taylor & Francis2004
Historical consciousness and retrospectives in the works of Helmut Lachenmann mid 70-s – 80-s Iyad A. MohammadBelarusian State Academy of Music BuletinNo. 4, Pp. 66-71Belarusian State Academy of Music2003
The specific interpretation of the pinao in the oeuvre of Helmut Lachenmann Iyad A. MohammadIssues of history and theory of music and musical pedagogyCollected articles, Pp. 13–23Belarusian State Academy of Music2003
On the role and function of technical equipments in Helmut Lachenmann’s “Kontrakadenz”, “Schwankungen am Rand” and “Accanto” Iyad A. MohammadContemporary Musicology Collected articles, Pp. 127–139Belarusian State Academy of Music2004
جدلية استخدام المؤلفين الموسيقيين للأصوات الطبيعية والأصوات الإلكترونية في التأليف الموسيقي في أوروبا خلال النصف الثاني من القرن العشرين د. إياد عبدالحفيظ محمد، د.رامي نجيب حدادالمجلة الأردنية للفنونالمجلد الخامس، العدد الثاني، ص 169-184جامعة اليرموك2012