Transcending Quotation cross cultural musical representation in Mauricio Kagel's die stucke der Windrose fur Salonorchester
Transcending Quotation cross cultural musical representation in Mauricio Kagel's die stucke der Windrose fur Salonorchester
Die Stücke der Windrose für Salonorchester (1989-95) by the Argentine-German composer Mauricio Kagel (*1931) constitute a set of eight pieces on the main bearings of the compass, each number being named after a compass point.
In my thesis I explore how the different musical idioms - references to non-Western musics and to salon orchestra music, as well as Kagel's own compositional procedures - relate to one another in the pieces. The specific origin of the materials Kagel utilised is established by examining a variety of sources, such as the composer's own programme notes, an interview I conducted with him, and most importantly, the sketch materials. On this basis I develop a theoretical model of the intertextual relations between different musicals discourses by means of Bakhtinian dialogics, resulting in a typology distinguishing different kinds of cross-cultural musical representation according to the degree of 'stylisation' involved.
This typology serves as the framework of my analyses in which I discuss the different ways Kagel engages with his source materials in terms of compositional technique, aesthetic issues such as Kagel's challenge to traditional notions of authorship, and the ideological implications of cross-cultural musical representation, interpreted in the light of recent discourses, for instance in cultural studies and postcolonialism. In particular, I demonstrate that Kagel's work is as much a critical reflection on common Western representations of 'otherness', as it engages in such a practice itself, as is apparent in the ostentatious employment of a salon orchestra with its associations of turn-of-the-century exoticism. By illustrating methodological approaches to cross-cultural composition, which has become a prominent feature of contemporary Western concert music, the thesis aims to contribute to current discourses concerning the musical representation of 'otherness'.
University of Southampton
Heile, Bjorn
dccaa355-e47d-4b5c-9f9b-42567d4bf224
2001
Heile, Bjorn
dccaa355-e47d-4b5c-9f9b-42567d4bf224
Heile, Bjorn
(2001)
Transcending Quotation cross cultural musical representation in Mauricio Kagel's die stucke der Windrose fur Salonorchester.
University of Southampton, Doctoral Thesis.
Record type:
Thesis
(Doctoral)
Abstract
Die Stücke der Windrose für Salonorchester (1989-95) by the Argentine-German composer Mauricio Kagel (*1931) constitute a set of eight pieces on the main bearings of the compass, each number being named after a compass point.
In my thesis I explore how the different musical idioms - references to non-Western musics and to salon orchestra music, as well as Kagel's own compositional procedures - relate to one another in the pieces. The specific origin of the materials Kagel utilised is established by examining a variety of sources, such as the composer's own programme notes, an interview I conducted with him, and most importantly, the sketch materials. On this basis I develop a theoretical model of the intertextual relations between different musicals discourses by means of Bakhtinian dialogics, resulting in a typology distinguishing different kinds of cross-cultural musical representation according to the degree of 'stylisation' involved.
This typology serves as the framework of my analyses in which I discuss the different ways Kagel engages with his source materials in terms of compositional technique, aesthetic issues such as Kagel's challenge to traditional notions of authorship, and the ideological implications of cross-cultural musical representation, interpreted in the light of recent discourses, for instance in cultural studies and postcolonialism. In particular, I demonstrate that Kagel's work is as much a critical reflection on common Western representations of 'otherness', as it engages in such a practice itself, as is apparent in the ostentatious employment of a salon orchestra with its associations of turn-of-the-century exoticism. By illustrating methodological approaches to cross-cultural composition, which has become a prominent feature of contemporary Western concert music, the thesis aims to contribute to current discourses concerning the musical representation of 'otherness'.
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Published date: 2001
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Local EPrints ID: 464558
URI: http://eprints.soton.ac.uk/id/eprint/464558
PURE UUID: 1fd0c1eb-2ef3-4c09-bd64-d9c6243133ae
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Date deposited: 04 Jul 2022 23:46
Last modified: 16 Mar 2024 19:36
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Author:
Bjorn Heile
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