Pwyll Ap Siôn
Biographic Data
| ID | 1379196 |
|---|---|
| NAME | Pwyll Ap Siôn |
| GIVEN NAMES | Pwyll Ap |
| FAMILY NAME | Siôn |
| SIGNATURE | AP SIÔN P |
| AFFILIATIONS | Bangor University |
| ORCID | 0000-0002-7101-5010 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Minimalist Music in Eastern Europe
Maarten Beirens opens his doctoral dissertation on the identity of European minimalist music—one of the most detailed studies to date about the subject—by citing Helga de la Motte-Haber’s 1994 asse
Rethinking Reich
Howard Skempton
Hidden Disunities and Uncanny Resemblances
Does stylistic appropriation serve to create a sense of unity or disunity, continuity or fragmentation? Taking George Lipsitz's notion of ‘families of resemblance’ and intertextuality's dialogic qualities (as shown in the writings of Mikhail Bakhtin and Julia Kristeva), this article will put forward the argument that certain forms of quotation result in a kind of halfway house—an in-between state—where the text seemingly announces its own indepen…
Musical Borrowing and Quotation in the Twentieth and Twenty-First Centuries
How has quotation been used in the music of the past quarter century or so, and what has been its purpose? Can parallels be drawn between the motivations and interests of present-day composers, performers and musicians working in often widely divergent areas? What have been the effects of quotation on our understanding of contemporary music and how have critics and audiences responded to it? This special issue attempts to address these questions …
Musical Borrowing and Quotation in the Twentieth and Twenty-First Centuries
How has quotation been used in the music of the past quarter century or so, and what has been its purpose? Can parallels be drawn between the motivations and interests of present-day composers, performers and musicians working in often widely divergent areas? What have been the effects of quotation on our understanding of contemporary music and how have critics and audiences responded to it? This special issue attempts to address these questions …
Hidden Disunities and Uncanny Resemblances
Does stylistic appropriation serve to create a sense of unity or disunity, continuity or fragmentation? Taking George Lipsitz's notion of ‘families of resemblance’ and intertextuality's dialogic qualities (as shown in the writings of Mikhail Bakhtin and Julia Kristeva), this article will put forward the argument that certain forms of quotation result in a kind of halfway house—an in-between state—where the text seemingly announces its own indepen…
Hidden Disunities and Uncanny Resemblances
Does stylistic appropriation serve to create a sense of unity or disunity, continuity or fragmentation? Taking George Lipsitz's notion of ‘families of resemblance’ and intertextuality's dialogic qualities (as shown in the writings of Mikhail Bakhtin and Julia Kristeva), this article will put forward the argument that certain forms of quotation result in a kind of halfway house—an in-between state—where the text seemingly announces its own indepen…
Musical Borrowing and Quotation in the Twentieth and Twenty-First Centuries
How has quotation been used in the music of the past quarter century or so, and what has been its purpose? Can parallels be drawn between the motivations and interests of present-day composers, performers and musicians working in often widely divergent areas? What have been the effects of quotation on our understanding of contemporary music and how have critics and audiences responded to it? This special issue attempts to address these questions …
Rethinking Reich
Howard Skempton
Minimalist Music in Eastern Europe
Maarten Beirens opens his doctoral dissertation on the identity of European minimalist music—one of the most detailed studies to date about the subject—by citing Helga de la Motte-Haber’s 1994 asse
Musicology and Musical Analysis (4 works) · Art (3 works) · Diverse Musicological Studies (3 works) · History (3 works) · Aesthetics (2 works) · Art history (2 works) · Criticism and interpretation (2 works) · History and criticism (2 works) · Literature (2 works) · Music (2 works)