Harmonic Practices in Oliver Knussen's Music since 1988: Part I

@article{Anderson2002HarmonicPI,
  title={Harmonic Practices in Oliver Knussen's Music since 1988: Part I},
  author={Julian Anderson},
  journal={Tempo},
  year={2002},
  pages={2 - 14}
}
At fifty, Oliver Knussen has an output of formidably accomplished works behind him, composed at consistently high levels of invention and imagination, instantly recognizable both for their harmonic language and their clear, resonant instrumentation. Yet, surprisingly in view of Knussen's long-established international reputation, the musicological and analytic fraternity has been slow to pick up on what Knussen has been up to since the mid-1970s. There is almost nothing in print which goes into… 
6 Citations

‘INTO THE BREACH’: OLIVER KNUSSEN IN HIS TIME

Abstract In 2002 Elliott Carter marked Oliver Knussen's fiftieth birthday with a short piece – Au Quai – for viola and bassoon, accompanied by the following comments: ‘As modernism seemed headed for

Chordal roots, Klangverwandtschaft, euphony and coherence : an approach to ostensibly 'atonal', 'non-tonal' or 'post-tonal' harmonic technique

My harmonic approach is founded on two premises, pertaining especially to chordal spacing. First, that for each of the 4,096 possible sets of pitch-classes within equal temperament, without

A critical and reflective commentary on a portfolio of compositions

This thesis consists of a portfolio of nine compositions accompanied by a written commentary and (where possible) audio recordings of these pieces. The compositions span a variety of instrumentations

Composition as Commentary: Voice and Poetry in Electroacoustic Music

What is the role of a spoken or sung text in an electroacoustic composition? Does it represent anachronism, assigning the role of communication to the voice and thereby depriving more abstract

Portfolio of compositions and technical commentary

................................................................................................................................................. ii Acknowledgements

Portfolio of compositions an exploration of the manipulation of modes

This thesis consists of a portfolio of compositions accompanied by a written commentary and audio recordings of the works. The commentary discusses each of the works within the context of how mode

References

‘Threni’: Stravinsky's ‘Debt’ to Krenek

That both Stravinsky and Krenek composed a setting of the Lamentations of Jeremiah is not in itself especially startling, for it had been done before and has been done since. In his Conversations