The Music of Mauricio Kagel
| Author | : | |
| Rating | : | 4.76 (914 Votes) |
| Asin | : | 0754635236 |
| Format Type | : | paperback |
| Number of Pages | : | 224 Pages |
| Publish Date | : | 2013-09-09 |
| Language | : | English |
DESCRIPTION:
It also consolidates the composer's reputation for sustained engagement with many of the central cultural issues of the late twentieth century. Touching on the wider musical and critical context as well, Dr Heile's book is the first to make plain Kagel's significance for an English-language readership, and it should leave its readers more eager than ever to explore this rewarding repertory.' Arnold Whittall, King's College, London. Bjorn Heile's impressive survey reveals the extraordinary range of Kagel's work, from his anarchic inventions of the 1960s and '70s - embracing music, f
He quickly established himself at Cologne, the rallying point for young composers at the time, and became one of the leading, if controversial, figures at the famous Darmstadt summer courses. Mauricio Kagel was undoubtedly one of the major figures in the new music of the last fifty years. He embraced multiple serialism, aleatory technique and electronics, but he is best known for his pioneering explorations in music theatre, radio play, film and mixed media. Björn Heile charts Kagel's compositional development, considering the aesthetic and ideological issues the composer
"Music criticism that rings true" according to BB. Mauricio Kagel (born 19Music criticism that rings true Mauricio Kagel (born 1931; still going strong) is an Argentinian-German composer who has over the past 50 years worked his way though electro-acoustic composition, musical-theatrical pieces, and neo-classical orchestra works (many of which might claim Groucho Mark as their patron saint), without ever ceding any of his originality. Critical comment has routinely bounced off Kagel's work with oddly hollow echoings: one writer dismissed him with "So much of Kagel's music is intentionally absurd that it is hard to know when to take him s. 1; still going strong) is an Argentinian-German composer who has over the past 50 years worked his way though electro-acoustic composition, musical-theatrical pieces, and neo-classical orchestra works (many of which might claim Groucho Mark as their patron saint), without ever ceding any of his originality. Critical comment has routinely bounced off Kagel's work with oddly hollow echoings: one writer dismissed him with "So much of Kagel's music is intentionally absurd that it is hard to know when to take him s
Björn Heile is Lecturer in Music at the University of Sussex, UK.