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Hidden Disunities and Uncanny Resemblances: Connections and Disconnections in the Music of Lera Auerbach and Michael Nyman

Ap Sion, P. (2014) Hidden Disunities and Uncanny Resemblances: Connections and Disconnections in the Music of Lera Auerbach and Michael Nyman. Contemporary Music Review, 33 (2). pp. 167-187. DOI: 10.1080/07494467.2014.959275

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Abstract

Does stylistic appropriation serve to create a sense of unity or disunity, continuity or fragmentation? Taking George Lipsitz's notion of �families of resemblance� and intertextuality's dialogic qualities (as shown in the writings of Mikhail Bakhtin and Julia Kristeva), this article will put forward the argument that certain forms of quotation result in a kind of halfway house�an in-between state�where the text seemingly announces its own independence despite its (inter)dependence on a whole host of other intertexts. Unlike the collage-like, so-called polystylistic compositions of the late 1960s, which also used quotation, an altogether different and more deeply embedded form has developed since then, where the quoted material is integrated to a much greater extent on the surface, only to lay bare its �difference� at a deeper level. Such �hidden discontinuities� will be examined in relation to a single work, Lera Auerbach's Sogno di Stabat Mater (2005/2008), before applying Lipsitz's principle as a case study to Michael Nyman's oeuvre.

Item Type: Article
Subjects: Research Publications
Departments: College of Arts and Humanities > School of Music
Date Deposited: 30 Jul 2015 02:28
Last Modified: 19 Nov 2015 03:46
ISSN: 0749-4467
URI: http://e.bangor.ac.uk/id/eprint/4919
Identification Number: DOI: 10.1080/07494467.2014.959275
Publisher: Taylor & Francis
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