Harrison Birtwistle Studies

Description

This collection of essays celebrates the work of Sir Harrison Birtwistle, one of the key figures in European contemporary music. Representing current research on Birtwistle's music, this book reflects the diversity of his work in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives. Written by a team of international scholars, all of whom bring a deep research-based knowledge and insight to their chosen study, this collection extends the scholarly understanding of Birtwistle through new engagements with the man and the music. The contributors provide detailed studies of Birtwistle's engagement with electronic music in the 1960s and 1970s, and develop theoretical explanations of his fascination with pulse, rhythm and time. They also explore in detail Birtwistle's interest in poetry, instrumental drama, gesture, procession and landscape, and consider the compositional processes that underpin these issues.

David Beard is Senior Lecturer in Music at Cardiff University. He is the author of Harrison Birtwistle's Operas and Music Theatre (Cambridge, 2012) and he has published on Birtwistle in Music Analysis, Twentieth-Century Music and the Cambridge Opera Journal. He has contributed chapters on Birtwistle, Peter Maxwell Davies and Judith Weir in various books, including Ancient Drama in Music for the Modern Stage (2010), Peter Maxwell Davies Studies (Cambridge, 2009), and Dichotonies: Music and Gender (2009). Kenneth Gloag is Reader in Musicology at Cardiff University. His publications include books on Tippett's A Child of Our Time (Cambridge, 1999) and Nicholas Maw: Odyssey (2008). He is the author of Postmodernism in Music (Cambridge, 2012), and has co-edited and contributed chapters to Peter Maxwell Davies Studies (Cambridge, 2009) and The Cambridge Companion to Michael Tippett (Cambridge, 2013). Nicholas Jones is Senior Lecturer at the Centre for Lifelong Learning, Cardiff University. He has a specialist interest in twentieth-century and contemporary British music and is co-editor of and contributor to Peter Maxwell Davies Studies (Cambridge, 2009) and The Cambridge Companion to Michael Tippett (Cambridge, 2013). He has written a number of articles on Birtwistle's closest contemporary, Peter Maxwell Davies, for Music and Letters, Tempo and The Musical Times.