| ISBN |
9781472446657 (hardcover : alk. paper) |
|
1472446658 (hardcover : alk. paper) |
| Description |
xvi, 214 pages ; 23 cm |
| Content type |
text |
| Media type |
unmediated |
| Carrier type |
volume |
| Bibliog. |
Includes bibliographical references and index. |
| Contents |
Introduction : beyond the delta? -- 'A here that is gone, or is going' : Ades's Arcadiana -- Connections 1 : interaction, analysis, energy -- Pulling inwards, pushing onwards : Saariaho's Solar -- Connections 2 : shape, continuity, development -- Strolling through a formal garden : Takemitsu's How slow the wind -- Connections 3 : expression, moment, meaning -- Ruined artefacts : Kurtág's [Ståelåe] -- Conclusions : three statements, three questions. |
| Summary |
What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late-twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Ades, Kaija Saariaho, Toiru Takemitsu and Gyorgy Kurtag, whose music cannot be fitted easily into a particular compositional school or analytical framework. |
| Subject |
Music -- 20th century -- History and criticism.
|
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Music -- Philosophy and aesthetics.
|
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Musical analysis.
|
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