Co-operatingContinuities in theMusic ofThomasAdès
Bibliographic Data
| ID | 4907449 |
|---|---|
| Authors | John Roeder (University of British Columbia, corresponding author) |
| Year | 2006 |
| Volume | 25 |
| Issue | 1-2 |
| Pages | 121-154 |
| Publication date | 2006-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Analysis (JOURNAL) |
| Journal identifiers | ISSN: 0262-5245 • E-ISSN: 1468-2249 |
| Publisher | Wiley (PUBLISHER • GB) |
| DOI | 10.1111/j.1468-2249.2006.00235.x |
| OpenAlex | W2004580231 |
| Language | EN |
| Citations received | 6 |
| References cited | 15 |
Jonathan Kramer defined postmodern music as an ironic, fragmentary mix of past and present compositional procedures embodying multiple temporal dimensions. Recent theorising grounded in phenomenological and cognitive-scientific accounts of musical experience suggests that it may be possible to develop a more insightful interpretative perspective by extending Kramer's notions of 'direction', 'linearity', 'narrative' and 'motion' to more fundamental concepts of continuity, beginning and ending. With respect to the search for a coherent analytical method, the music of the acclaimed young British composer Thomas Adès merits special attention, in part due to the consistency with which his work employs elemental continuities, but also on account of the variety of temporalities that he composes from them. The present survey aims to explore the means by which these continuities are made apparent, at the same time showing how they are obliged to co-operate in order to articulate and direct time in characteristically postmodern ways. Excerpts are examined from a range of pieces, includingTraced Overhead,ArcadianaandAsyla. These analyses illustrate the paradoxical nature of postmodern musical time, in which linearity can be understood to emerge from locally various periodicities and trends
Aesthetics · Art · Epistemology · Literature · Musical · Narrative · Postmodernism · Sociology · Temporalities · Theology · Visual arts · Computer Science · Music Technology and Sound Studies · Musicology and Musical Analysis · Neuroscience and Music Perception · Philosophy · Artificial Intelligence
A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”
Extending the Parallel Multiple-Analysis Processor
Aligned Cycles in Thomas Adès's Piano Quintet
Thomas Adès's 'Freaky, Funky Rave
The Process of Modulation in Musical Collage
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb
Auditory Scene Analysis
Fantasy Pieces
Concert Music, Rock, and Jazz since 1945
Tempestuous Times
The Analysis and Cognition of Melodic Complexity
Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions
"Pulse Streams and Problems of Grouping and Metrical Dissonance in Bartök's "With Drums and Pipes
| Unique citing works | 6 |
|---|---|
| Citations per year | 0,33 |
| Citation span | 2008 - 2023 (16) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 6 |