Andere Kunden interessierten sich auch für
![Compositional Strategies in Electroacoustic Music]( "Compositional Strategies in Electroacoustic Music")
Compositional Strategies in Electroacoustic Music40,99 €![A Survey of the History of Music in Afghanistan:]( "A Survey of the History of Music in Afghanistan:")
A Survey of the History of Music in Afghanistan:53,99 €![George Garzone and Improvisation]( "George Garzone and Improvisation")
George Garzone and Improvisation46,99 €![Keith Jarrett's Transformation of Standard Tunes]( "Keith Jarrett's Transformation of Standard Tunes")
Keith Jarrett's Transformation of Standard Tunes53,99 €![Conducting Masterworks for Wind Band]( "Conducting Masterworks for Wind Band")
Conducting Masterworks for Wind Band33,99 €![Sergei Rachmaninoff`s Piano Concertos]( "Sergei Rachmaninoff`s Piano Concertos")
Sergei Rachmaninoff`s Piano Concertos33,99 €![Crossing Over]( "Crossing Over")
Crossing Over40,99 €
In this doctoral dissertation, originally from 2001,
Björn Heile analyses Mauricio Kagel s groundbreaking
cycle Die Stücke der Windrose für Salonorchester
(1989-95) by relating it to Mikhail Bakhtin s theory
of dialogics and the postcolonial criticism of Edward
Said. In a wide-ranging study, which includes
in-depth investigations of primary sources such as
the sketch materials and an interview with the
composer, Heile develops a typology of cross-cultural
musical representation which serves as the framework
for a discussion of the different ways Kagel engages
with his source materials. Throughout, the author
moves between such issues as compositional technique,
aesthetic questions, such as Kagel s challenge to
traditional notions of authorship, and the
ideological implications of cross-cultural musical
representation, which are interpreted in the light of
recent discourses. By developing pioneering
methodological approaches tocross-cultural
composition, which has become a prominent feature of
contemporary Western concert music, the book serves
as a significant and innovative contribution to
current discourses surrounding the musical
representation of otherness .
Björn Heile analyses Mauricio Kagel s groundbreaking
cycle Die Stücke der Windrose für Salonorchester
(1989-95) by relating it to Mikhail Bakhtin s theory
of dialogics and the postcolonial criticism of Edward
Said. In a wide-ranging study, which includes
in-depth investigations of primary sources such as
the sketch materials and an interview with the
composer, Heile develops a typology of cross-cultural
musical representation which serves as the framework
for a discussion of the different ways Kagel engages
with his source materials. Throughout, the author
moves between such issues as compositional technique,
aesthetic questions, such as Kagel s challenge to
traditional notions of authorship, and the
ideological implications of cross-cultural musical
representation, which are interpreted in the light of
recent discourses. By developing pioneering
methodological approaches tocross-cultural
composition, which has become a prominent feature of
contemporary Western concert music, the book serves
as a significant and innovative contribution to
current discourses surrounding the musical
representation of otherness .