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
| Identifer | oai:union.ndltd.org:uvic.ca/oai:dspace.library.uvic.ca:1828/3260 |
| Date | 27 April 2011 |
| Creators | Bakker, Twila Dawn |
| Contributors | Goldman, Jonathan |
| Source Sets | University of Victoria |
| Language | English, English |
| Detected Language | English |
| Type | Thesis |
| Rights | Available to the World Wide Web |
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