Music of Michael Nyman : Texts, Contexts and Intertexts, Hardcover by Pwyll A...

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Características del artículo

Estado
Como nuevo: Libro en perfecto estado y poco leído. La tapa no tiene desperfectos y si procede, con ...
Book Title
Music of Michael Nyman : Texts, Contexts and Intertexts
ISBN
9781859282106
Categoría

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Product Identifiers

Publisher
Routledge
ISBN-10
1859282105
ISBN-13
9781859282106
eBay Product ID (ePID)
60417564

Product Key Features

Number of Pages
256 Pages
Publication Name
Music of Michael Nyman : Texts, Contexts and Intertexts
Language
English
Subject
Composers & Musicians, General
Publication Year
2007
Type
Textbook
Subject Area
Music, Biography & Autobiography
Author
Pwyll Ap Siôn
Format
Hardcover

Dimensions

Item Height
0.9 in
Item Weight
18.8 Oz
Item Length
9.5 in
Item Width
6.4 in

Additional Product Features

Intended Audience
College Audience
LCCN
2006-032541
Dewey Edition
22
TitleLeading
The
Illustrated
Yes
Dewey Decimal
780.92
Table Of Content
Contents: Foreword; Introduction; Nyman 'on trial'; Man and boy: the early years; Texts in context; Mapping intertextuality in Nyman; Parallel universes: the Nyman-Greenaway soundtracks; Quotation in Nyman's neurological opera; Unchained melodies: intertextuality and inter-referentiality in the string quartets; The author returns: music at The Piano; Gene sequences and musical sequences: Facing Goya; Conclusion; Bibliography; Index.
Synopsis
Nyman's rise to international prominence during the last three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap Siôn places Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, is shown to provide his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to convey a wide range of aesthetic, expressive and illustrative forms., Nyman's rise to international prominence during the last three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap Siôn places Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory in general, appropriation and borrowing are first introduced within the context of twentieth-century art music and theory. Intertextual concepts are explained and their terms defined before Nyman's musical language is considered in relation to a series of intertextual classifications and types. These types then form the basis of a more in-depth study of his works during the second half of the book, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, is shown to provide his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of technical, aesthetic and expressive forms. He composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them., Nyman's rise to international prominence during the last three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap Si n places Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory in general, appropriation and borrowing are first introduced within the context of twentieth-century art music and theory. Intertextual concepts are explained and their terms defined before Nyman's musical language is considered in relation to a series of intertextual classifications and types. These types then form the basis of a more in-depth study of his works during the second half of the book, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, is shown to provide his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of technical, aesthetic and expressive forms. He composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them., Nyman's rise to international prominence during the last three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap Siôn places Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory in general, appropriation and borrowing are first introduced within the context of twentieth-century art music and theory. Intertextual concepts are explained and its terms defined before Nyman's musical language is considered in relation to a series of intertextual classifications and types. These types then form the basis of a more in-depth study of his works during the second half of the book, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, is shown to provide his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to convey a wide range of aesthetic, expressive and illustrative forms.
LC Classification Number
ML410

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