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11	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
12	An Argument for the Reassessment of Stravinsky's Early Serial Compositions Hughes, Timothy Stephen 12 1900 (has links) Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements. Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period. Stravinsky, Igor Serial compositions Stravinsky, Igor, 1882-1971. -- Cantata. Stravinsky, Igor, 1882-1971. -- Agon.

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Two responses to modernism: minimalism and new complexity in solo flute repertoire

An Argument for the Reassessment of Stravinsky's Early Serial Compositions