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Identity and Diversity in New Music: The New Complexities aims to
enrich the discussion of how musicians and educators can best
engage with audiences, by addressing issues of diversity and
identity that have played a vital role in the reception of new
music, but have been little-considered to date. Marilyn Nonken
offers an innovative theoretical approach that considers how the
environments surrounding new music performances influence
listeners' experiences, drawing on work in ecological psychology.
Using four case studies of influential new music ensembles from
across the twentieth century, she considers how diversity arises in
the musical environment, its impact on artists and creativity, and
the events and engagement it makes possible. Ultimately, she
connects theory to practice with suggestions for how musicians and
educators can make innovative music environments inclusive.
The most influential compositional movement of the past fifty
years, spectralism was informed by digital technology but also
extended the aesthetics of pianist-composers such as Franz Liszt,
Alexander Scriabin and Claude Debussy. Students of Olivier Messiaen
such as Tristan Murail and Gerard Grisey sought to create a
cooperative committed to exploring the evolution of timbre in time
as a basis for the musical experience. In The Spectral Piano,
Marilyn Nonken shows how the spectral attitude was influenced by
developments in technology but also continued a tradition of
performative and compositional virtuosity. Nonken explores shared
fascinations with the musical experience, which united spectralists
with their Romantic and early Modern predecessors. Examining
Murail's Territoires de l'oubli, Jonathan Harvey's Tombeau de
Messiaen, Joshua Fineberg's Veils, and Edmund Campion's A Complete
Wealth of Time, she reveals how spectral concerns relate not only
to the past but also to contemporary developments in philosophical
aesthetics.
Identity and Diversity in New Music: The New Complexities aims to
enrich the discussion of how musicians and educators can best
engage with audiences, by addressing issues of diversity and
identity that have played a vital role in the reception of new
music, but have been little-considered to date. Marilyn Nonken
offers an innovative theoretical approach that considers how the
environments surrounding new music performances influence
listeners' experiences, drawing on work in ecological psychology.
Using four case studies of influential new music ensembles from
across the twentieth century, she considers how diversity arises in
the musical environment, its impact on artists and creativity, and
the events and engagement it makes possible. Ultimately, she
connects theory to practice with suggestions for how musicians and
educators can make innovative music environments inclusive.
The most influential compositional movement of the past fifty
years, spectralism was informed by digital technology but also
extended the aesthetics of pianist-composers such as Franz Liszt,
Alexander Scriabin and Claude Debussy. Students of Olivier Messiaen
such as Tristan Murail and Gerard Grisey sought to create a
cooperative committed to exploring the evolution of timbre in time
as a basis for the musical experience. In The Spectral Piano,
Marilyn Nonken shows how the spectral attitude was influenced by
developments in technology but also continued a tradition of
performative and compositional virtuosity. Nonken explores shared
fascinations with the musical experience, which united spectralists
with their Romantic and early Modern predecessors. Examining
Murail's Territoires de l'oubli, Jonathan Harvey's Tombeau de
Messiaen, Joshua Fineberg's Veils, and Edmund Campion's A Complete
Wealth of Time, she reveals how spectral concerns relate not only
to the past but also to contemporary developments in philosophical
aesthetics.
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