A01=Pwyll ap Sion
Act III
American Experimental Music
American Minimalist Music
appropriation in composition
Author_Pwyll ap Sion
Bell Set
Bull's Variation
Bull’s Variation
Category=AVC
Category=AVLA
Category=AVN
Category=AVP
Chopin
chord
composition
contemporary classical music
contract
DNA Patent
Draughtsman's Contract
draughtsmans
Draughtsman’s Contract
Eighteenth Century Women's Fiction
Eighteenth Century Women’s Fiction
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
experimental music theory
film
Fourth Quartet
Greenaway's Film
greenaways
Greenaway’s Film
Ich Grolle Nicht
intertextual analysis
intertextuality in contemporary composition
Jackendoff's Theory
Jackendoff’s Theory
Karnatic Music
Mass Art
Nyman's Composition
Nyman's Music
nymans
Nyman’s Composition
Nyman’s Music
Portsmouth Sinfonia
postminimalist aesthetics
Prospero's Books
Prospero’s Books
quartet
quotation in art music
Schoenberg's String Quartet
Schoenberg’s String Quartet
Schumann's Song
Schumann’s Song
sequence
South Indian Classical Music
string
String Quartet
Unchained Melody
Vice Versa
Product details
- ISBN 9781138267459
- Weight: 376g
- Dimensions: 156 x 234mm
- Publication Date: 25 Nov 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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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.
Pwyll ap Siôn is senior lecturer in music in the School of Music, University of North Wales, Bangor, UK.
