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1	Hendrik F. Andriessen, his life and works Dox, Thurston Jacob, January 1969 (has links) Thesis--Eastman School of Music, University of Rochester. / Vita. Photocopy of typescript. Ann Arbor, Mich. : Xerox University Microfilms, 1974, c1970. -- 21 cm. Includes bibliographical references (leaves 240-244). Also issued in print. Andriessen, Hendrik,
2	De Beeldhouwer Mari Andriessen / Tilanus, Johannes Leonard Lodewijk, January 1900 (has links) Proefschrift--Letteren--Rijksuniversiteit te Leiden, 1984. / Bibliogr. p. 161. Index. Andriessen, Mari,
3	Hendrik F. Andriessen, his life and works Dox, Thurston Jacob, January 1969 (has links) Thesis--Eastman School of Music, University of Rochester. / Vita. Photocopy of typescript. Ann Arbor, Mich. : Xerox University Microfilms, 1974, c1970. -- 21 cm. Includes bibliographical references (leaves 240-244). Andriessen, Hendrik,
4	Postminimalismus als kompositorischer Ansatz : analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995 Bauer, Cornelius January 2006 (has links) Zugl.: Rostock, Hochsch. für Musik und Theater, Diss., 2005
5	Postminimalismus als kompositorischer Ansatz analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995 Bauer, Cornelius January 2005 (has links) Zugl.: Rostock, Hochsch. für Musik und Theater, Diss., 2005
6	Portfolio of original compositions and critical writing Lewis, Luke January 2016 (has links) On a May morning in 2013 news broke that a unique figure within British musical life had died unexpectedly in his sleep at the age of fifty-eight. First coming to notoriety in the early 1980s, the composer Steve Martland's output spanned fusions of classical and popular instruments, a song cycle/pop album released on an independent alternative label, a predilection for string music descended as much from Dutch and American minimalists as his more pastoral English forebears, works for his own band of winds, guitars and drums, and ended with a choir piece giving traditional seafaring texts a minimalist treatment. Paralleling this stylistic evolution, all the while he was an opinionated and outspoken left-winger, frequently commenting on both the politics of music-making and broader socio-political topics. But from my perspective most compelling is how he sought to address these concerns with his compositions. With little sustained attention having been paid to Martland beyond journalistic writings and some from a sociological perspective, this dissertation seeks both to be the first tracing of his career but have as its central focus an examination of just how his politics were expressed in his compositions and how this evolved. I cast a critical eye toward the works themselves, sketches held at the British Library and interviews and reviews to build insight into an idiosyncratic artistic response to a period of great social and cultural change in Britain that reveals itself to be a great deal more nuanced, conscientious and sometimes contradictory than it first appears.
7	Twice Collapsed Normann, Andrew J. 20 April 2015 (has links) No description available. Music tonal harmonic scheme droning Igor Stravinsky Louis Andriessen Joan Tower John Adams
8	Two responses to modernism: minimalism and new complexity in solo flute repertoire Bakker, Twila Dawn 27 April 2011 (has links) Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate flute music musicology Unity Capsule Valentine Piece Carceri d'invenzione IIb Vermont Counterpoint Arabesque in Memoriam Ende Andriessen Sgothan Superscripto minimalism new complexity Gorecki Glass Reich Dillon Ferneyhough post-modern modern contemporary avant-garde wind repertoire
9	Lulu's Daughters: Portraying the Anti-Heroine in Contemporary Opera, 1993-2013 Stevens, Nicholas David 07 September 2017 (has links) No description available. Music Theater Studies Fine Arts Film Studies Gender Studies media jazz popular music chamber opera monodrama postopera music theatre gender archetype Berg, Alban Ades, Thomas Andriessen, Louis Neuwirth, Olga Turnage, Mark-Anthony Nin, Anais tabloid culture modernism narrative voice

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