Corpus ID: 142613415

Redefining coherence : interaction and experience in new music, 1985-1995

  title={Redefining coherence : interaction and experience in new music, 1985-1995},
  author={Mark A. Hutchinson},
This thesis presents an analytical exploration of a number of works from 1985 to 1995, many of which have not previously received detailed attention. Although they stem from quite varied stylistic and aesthetic backgrounds, all these pieces are situated in a particular position within the tradition of Western art music: they show an approach which is neither ‘avant-garde’ in its commitment to continual formal and technical novelty, nor clearly associated with any other existing compositional… Expand
Dreams, Gardens, Mirrors: Layers of Narrative in Takemitsu's Quotation of Dream
Takemitsu's two-piano concertante work Quotation of Dream: Say Sea, Take Me! (1991) is typical of the composer's late works in its rarefied atmosphere and spacious, carefully balanced structure, bothExpand
Timbral Transformations in Kaija Saariaho's From the Grammar of Dreams
iv Acknowledgements v List of Figures viii Chapter 1: Introduction 1 1.1 Kaija Saariaho in the Literature 2 1.2 A Timbre-Focused, Score-Based Approach 10 Chapter 2: Timbre and Methodology 13 2.1Expand


Playing with Signs: A Semiotic Interpretation of Classic Music
Of all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called ClassicExpand
Beyond simplicity : analytical strategies for contemporary music.
Focusing on a repertoire which has often been dismissed for its apparent simplicity, this thesis indicates appropriate strategies for analytical study of this significant body of contemporary music,Expand
Co‐operating Continuities in the Music of Thomas Adès
Jonathan Kramer defined postmodern music as an ironic, fragmentary mix of past and present compositional procedures embodying multiple temporal dimensions. Recent theorising grounded inExpand
Postmodernism and the Critique of Musical Analysis
self-justifying arguments. They treat theories as historical truths, mapping them onto history with scant regard for historical specificity. At worst, they have no interest in musical meaning and inExpand
Rewriting Schenker: Narrative—History—Ideology
Heinrich Schenker's system can be read as narrative purveyed in the traditional genres of drama and epic. We begin with a discussion and critique of recent music-narrative studies and then propose aExpand
New sounds, new stories. Narrativity in contemporary music
In this dissertation, I study the relation between narrativity and contemporary composed music. The purpose of this study is twofold. Firstly, in so doing, I am able to articulate what musicalExpand
The Living Work: Organicism and Musical Analysis
The notion that human history, society, and experience may be viewed and described in organic terms has been a pervasive one in Western culture. The use of the organism and its life as metaphorsExpand
Music as Cultural Practice, 1800-1900
In "Music as Cultural Practice," Lawrence Kramer adapts the resources of contemporary literary theory to forge a genuinely new discourse about music. Rethinking fundamental questions of meaning andExpand
Darmstadt as Other: British and American Responses to Musical Modernism
There is currently a backlash against modernism in English-language music studies. While this vogue of ‘modernism bashing’ is ostensibly based on progressive ideologies, it is dependent on aExpand
Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation
Foreword by David Lidov Preface Introduction Part I. Interpretation and Theory I. A Case Study for Interpretation The Third Movement of Op. 106 (Hammerklavier) II. Correlation, Interpretation, andExpand