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In recent years the music of minimalist composers has become the subject of important musicological reflection, research and debate. This Companion provides an authoritative overview of research in this area and highlights the innovative work of the renowned early minimalists, the distinctive work of second and third generation minimalists, and the
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In recent years the music of minimalist composers has become the subject of important musicological reflection, research and debate. This Companion provides an authoritative overview of research in this area and highlights the innovative work of the renowned early minimalists, the distinctive work of second and third generation minimalists, and the
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Routledge Music Companions
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 458
- Erscheinungstermin: 14. Oktober 2024
- Englisch
- Abmessung: 169mm x 245mm x 28mm
- Gewicht: 786g
- ISBN-13: 9781032919638
- ISBN-10: 1032919639
- Artikelnr.: 71671491
- Herstellerkennzeichnung
- Produktsicherheitsverantwortliche/r
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Routledge Music Companions
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 458
- Erscheinungstermin: 14. Oktober 2024
- Englisch
- Abmessung: 169mm x 245mm x 28mm
- Gewicht: 786g
- ISBN-13: 9781032919638
- ISBN-10: 1032919639
- Artikelnr.: 71671491
- Herstellerkennzeichnung
- Produktsicherheitsverantwortliche/r
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Keith Potter is Reader in Music at Goldsmiths, University of London, where he is currently Director of Postgraduate Research in Music. His many publications covering various areas of contemporary music have particularly emphasized British and American work. The author of Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (2000), he was the co-founder and, for seventeen years, the Chief Editor of Contact: a journal of contemporary music, and also for ten years a regular music critic on The Independent daily newspaper. From 2007 he has been a founding committee member of the Society for Minimalist Music and is presently its Chair. Kyle Gann is a composer and was new-music critic for the Village Voice from 1986 to 2005. Since 1997 he has taught at Bard College. He is the author of The Music of Conlon Nancarrow; American Music in the 20th Century; Music Downtown: Writings from the Village Voice; No Such Thing as Silence: John Cage's 4'33"; Robert Ashley (University of Illinois Press, 2012), and the introduction to the 50th anniversary edition of Cage's Silence (Wesleyan University Press, 2011). Gann studied composition with Ben Johnston, Morton Feldman, and Peter Gena. His research into postminimalist music has been generously supported by the National Endowment for the Humanities. Pwyll ap Siÿn is senior lecturer at Bangor University, Wales. His monograph on The Music of Michael Nyman was published by Ashgate Publishing in 2007. He has recently edited Michael Nyman's collected writings for publication. As composer, he has written for bass-baritone Bryn Terfel, soprano Elin Manahan Thomas, the European Union Chamber Orchestra and the BBC National Orchestra of Wales. He writes regularly for Gramophone magazine.
Contents: Foreword; Introduction: experimental, minimalist, postminimalist? Origins, definitions, communities, Kyle Gann, Keith Potter and Pwyll ap SiÃ
n; Part I Historical and Regional Perspectives: Mapping early minimalism, Keith Potter; A technically definable stream of postminimalism, its characteristics and its meaning, Kyle Gann; European minimalism and the modernist problem, Maarten Beirens; Systems and other minimalism in Britain, Virginia Anderson. Part II Minimalism and the Theatre: Minimalism in the time-based arts: dance, film and video, Dean Suzuki; From minimalist music to postopera: repetition, representation and (post)modernity in the operas of Philip Glass and Louis Andriessen, Jelena Novak; Accommodating the threat of the machine: the act of repetition in live performance, Jeremy Peyton Jones. Part III Minimalism and Other Media: Minimalism, technology and electronic music, Richard Glover; Minimalist and postminimalist music in multimedia: from the avant-garde to the blockbuster film, Rebecca M. Doran Eaton; Going with the flow: minimalism as cultural practice in the USA since 1945, Robert Fink; Disaffected sounds, temporalized visions: Philip Glass and the audiovisual impulse in postminimalist music, John Richardson and Susanna VÃ
limÃ
ki. Part IV Analytical and Philosophical Perspectives: Analysing minimalist and postminimalist music: an overview of methodologies, Tristian Evans; Reference and quotation in minimalist and postminimalist music, Pwyll ap SiÃ
n; Minimalism and narrativity: some stories by Steve Reich, John Pymm; A theoretical model of postminimalism and two brief 'case studies', Marija Masnikosa. Part V Minimalism and Beyond: Defining 'spiritual minimalism' David Dies; Minimalism and pop: influence, reaction, consequences, Jonathan W. Bernard; Musical minimalism in Serbia: emergence, beginnings and its creative endeavours, Dragana Stojanovic-Novicic. Part VI Issues of Performance: Clapping Music: a performer's perspective,
n; Part I Historical and Regional Perspectives: Mapping early minimalism, Keith Potter; A technically definable stream of postminimalism, its characteristics and its meaning, Kyle Gann; European minimalism and the modernist problem, Maarten Beirens; Systems and other minimalism in Britain, Virginia Anderson. Part II Minimalism and the Theatre: Minimalism in the time-based arts: dance, film and video, Dean Suzuki; From minimalist music to postopera: repetition, representation and (post)modernity in the operas of Philip Glass and Louis Andriessen, Jelena Novak; Accommodating the threat of the machine: the act of repetition in live performance, Jeremy Peyton Jones. Part III Minimalism and Other Media: Minimalism, technology and electronic music, Richard Glover; Minimalist and postminimalist music in multimedia: from the avant-garde to the blockbuster film, Rebecca M. Doran Eaton; Going with the flow: minimalism as cultural practice in the USA since 1945, Robert Fink; Disaffected sounds, temporalized visions: Philip Glass and the audiovisual impulse in postminimalist music, John Richardson and Susanna VÃ
limÃ
ki. Part IV Analytical and Philosophical Perspectives: Analysing minimalist and postminimalist music: an overview of methodologies, Tristian Evans; Reference and quotation in minimalist and postminimalist music, Pwyll ap SiÃ
n; Minimalism and narrativity: some stories by Steve Reich, John Pymm; A theoretical model of postminimalism and two brief 'case studies', Marija Masnikosa. Part V Minimalism and Beyond: Defining 'spiritual minimalism' David Dies; Minimalism and pop: influence, reaction, consequences, Jonathan W. Bernard; Musical minimalism in Serbia: emergence, beginnings and its creative endeavours, Dragana Stojanovic-Novicic. Part VI Issues of Performance: Clapping Music: a performer's perspective,
Contents: Foreword; Introduction: experimental, minimalist, postminimalist? Origins, definitions, communities, Kyle Gann, Keith Potter and Pwyll ap SiÃ
n; Part I Historical and Regional Perspectives: Mapping early minimalism, Keith Potter; A technically definable stream of postminimalism, its characteristics and its meaning, Kyle Gann; European minimalism and the modernist problem, Maarten Beirens; Systems and other minimalism in Britain, Virginia Anderson. Part II Minimalism and the Theatre: Minimalism in the time-based arts: dance, film and video, Dean Suzuki; From minimalist music to postopera: repetition, representation and (post)modernity in the operas of Philip Glass and Louis Andriessen, Jelena Novak; Accommodating the threat of the machine: the act of repetition in live performance, Jeremy Peyton Jones. Part III Minimalism and Other Media: Minimalism, technology and electronic music, Richard Glover; Minimalist and postminimalist music in multimedia: from the avant-garde to the blockbuster film, Rebecca M. Doran Eaton; Going with the flow: minimalism as cultural practice in the USA since 1945, Robert Fink; Disaffected sounds, temporalized visions: Philip Glass and the audiovisual impulse in postminimalist music, John Richardson and Susanna VÃ
limÃ
ki. Part IV Analytical and Philosophical Perspectives: Analysing minimalist and postminimalist music: an overview of methodologies, Tristian Evans; Reference and quotation in minimalist and postminimalist music, Pwyll ap SiÃ
n; Minimalism and narrativity: some stories by Steve Reich, John Pymm; A theoretical model of postminimalism and two brief 'case studies', Marija Masnikosa. Part V Minimalism and Beyond: Defining 'spiritual minimalism' David Dies; Minimalism and pop: influence, reaction, consequences, Jonathan W. Bernard; Musical minimalism in Serbia: emergence, beginnings and its creative endeavours, Dragana Stojanovic-Novicic. Part VI Issues of Performance: Clapping Music: a performer's perspective,
n; Part I Historical and Regional Perspectives: Mapping early minimalism, Keith Potter; A technically definable stream of postminimalism, its characteristics and its meaning, Kyle Gann; European minimalism and the modernist problem, Maarten Beirens; Systems and other minimalism in Britain, Virginia Anderson. Part II Minimalism and the Theatre: Minimalism in the time-based arts: dance, film and video, Dean Suzuki; From minimalist music to postopera: repetition, representation and (post)modernity in the operas of Philip Glass and Louis Andriessen, Jelena Novak; Accommodating the threat of the machine: the act of repetition in live performance, Jeremy Peyton Jones. Part III Minimalism and Other Media: Minimalism, technology and electronic music, Richard Glover; Minimalist and postminimalist music in multimedia: from the avant-garde to the blockbuster film, Rebecca M. Doran Eaton; Going with the flow: minimalism as cultural practice in the USA since 1945, Robert Fink; Disaffected sounds, temporalized visions: Philip Glass and the audiovisual impulse in postminimalist music, John Richardson and Susanna VÃ
limÃ
ki. Part IV Analytical and Philosophical Perspectives: Analysing minimalist and postminimalist music: an overview of methodologies, Tristian Evans; Reference and quotation in minimalist and postminimalist music, Pwyll ap SiÃ
n; Minimalism and narrativity: some stories by Steve Reich, John Pymm; A theoretical model of postminimalism and two brief 'case studies', Marija Masnikosa. Part V Minimalism and Beyond: Defining 'spiritual minimalism' David Dies; Minimalism and pop: influence, reaction, consequences, Jonathan W. Bernard; Musical minimalism in Serbia: emergence, beginnings and its creative endeavours, Dragana Stojanovic-Novicic. Part VI Issues of Performance: Clapping Music: a performer's perspective,