The changing states of James Dillon
Bibliographic Data
| ID | 14809682 |
|---|---|
| Authors | Michael J Alexander (0000-0003-4893-7145, corresponding author) |
| Year | 1995 |
| Volume | 13 |
| Issue | 1 |
| Pages | 65-84 |
| Publication date | 1995-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494469500640291 |
| OpenAlex | W1979400848 |
| Language | EN |
The music of Scottish composer James Dillon has had considerable exposure and recognition outside of Britain, but has been slower to receive similar acclaim in Britain. This article comments on a few of the influences that contribute to the composer's radical language. Occasionally drawing upon Dillon's own words, it details his methods and philosophy of working and explorations into timbral and rhythmic modification. The major scores East 11th St NY 10003 and helle Nacht are highlighted as examples of some of his preoccupations. Dr. Alexander juxtaposes his scrutiny with a critique of listening
Active listening · Art · Art history · Performance art · Scrutiny · Sociology · Visual arts · Communication · History · Musicology and Musical Analysis · Philosophy · Scottish History and National Identity
| Citation velocity | historical |
|---|---|
| Highly cited | No |