Philip Rupprecht is Associate Professor of Music at Duke University, North Carolina. He has published widely on twentieth-century British music and his books include Britten's Musical Language (Cambridge, 2002) and two edited volumes, Rethinking Britten (2013) and Tonality 1900-1950: Concept and Practice (2012). He is also the recipient of fellowships from the National Endowment for the Humanities, the National Humanities Center, and the Wolfe Institute, Brooklyn College.
Inhaltsangabe
Introduction 1. Between nationalism and the avant garde: defining British modernism 2. Post-war motifs 3. Manchester avant-garde: Goehr, Davies and Birtwistle to 1960 4. A Manchester generation in Paris, London, and Rome: Musgrave, Maw, Crosse, and Bennett 5. Group portrait in the sixties: Davies, Birtwistle and Goehr to 1967 6. Instrumental drama: Musgrave and Birtwistle in the sixties 7. Vernaculars: Bedford and Souster as pop musicians 8. The incurably heterogeneous Tim Souster: between Elektronische Musik and pop Epilogue.
Introduction 1. Between nationalism and the avant garde: defining British modernism 2. Post-war motifs 3. Manchester avant-garde: Goehr, Davies and Birtwistle to 1960 4. A Manchester generation in Paris, London, and Rome: Musgrave, Maw, Crosse, and Bennett 5. Group portrait in the sixties: Davies, Birtwistle and Goehr to 1967 6. Instrumental drama: Musgrave and Birtwistle in the sixties 7. Vernaculars: Bedford and Souster as pop musicians 8. The incurably heterogeneous Tim Souster: between Elektronische Musik and pop Epilogue.
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