Knowing The Ropes Michael Nyman
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The Music of Michael Nyman
Nyman's rise to international prominence during the last three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap Si laces Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory in general, appropriation and borrowing are first introduced within the context of twentieth-century art music and theory. Intertextual concepts are explained and their terms defined before Nyman's musical language is considered in relation to a series of intertextual classifications and types. These types then form the basis of a more in-depth study of his works during the second half of the book, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, is shown to provide his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of technical, aesthetic and expressive forms. He composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them.
Classical Listening
Author: Rob Haskins
language: en
Publisher: Bloomsbury Publishing PLC
Release Date: 2015-11-05
The classical record business gained a new lease on life in the 1980s when period instrument performances of baroque and classical music began to assume a place on the stage. This return to the past found its complement in the musical ascension of the American minimalists, in particular the music of Steve Reich, Philip Glass, and John Adams, and smaller specialty labels that focused on experimental composers like John Cage. During this period of change—of classical music’s transition of looking both forward and back—Rob Haskins served as a reviewer for The American Record Guide, tracing these evolutions while also attending to works emerging from within the mainstream of classical music performance and composition. Classical Listening: Two Decades of Reviews of Reviews from The American Record Guide collects the several hundred reviews produced since Rob Haskins’s start in the mid-1990s. A performer and musicologist, Haskins writes delightful, cogent reviews that unapologetically reflect his personal experience, musical interests, and professional background, emphasizing the value of subjectivity in music criticism. Witty, provocative, and eloquent, Haskins’s book reads like a diary of personal experience even as it addresses important topics as diverse as historical performance practice and the aesthetics of contemporary music. It is also a perfect guide to buying or listening for the classical music devotee seeking an informed opinion on the breadth of remarkable recordings available. Record collectors, students and scholars of early and contemporary music, and performers, professionals, and general music lovers will find this collection an invaluable resource as they trace the reception of recordings in the last twenty years of classical music performance.
El libro de las heridas
He escrito este poemario de un tirón, su contenido me ha aparecido en sueño. Todo lo que puedo decir sobre este libro es que es mío, he escrito sobre lo que conozco, mis heridas y las heridas de las mujeres. He escrito sobre los abortos, sobre el desamor, sobre el conflicto con la maternidad y la familia, sobre la culpa y el olvido. Amo las palabras y no puedo soportar que se olviden los instantes increíbles que todos vivimos y en los que conseguimos tocar la profundidad de la vida. También he escrito este poemario para hacer algo con la pena. Cuando escribo busco nombrar lo que no se nombra habitualmente, porque duele, y en este sentido para mí la escritura es un espacio similar a la terapia. Los seres humanos somos seres lastimados, y nuestras heridas se calman con el amor y el arte, que devuelven la esperanza donde no hay esperanza. La vida es un campo de flores y de espinas, y como me dijo Cristóbal Jodorowsky en una tarde de su último verano, la poesía es "la espina que echa miel".