Nu se pretează? Nu contează! La noi puteți returna bunurile în 30 de zile
Cu un voucher cadou nu veți da greș. În schimbul voucherului, destinatarul își poate alege orice din oferta noastră.
30 de zile pentru retur bunuri
In this doctoral dissertation, originally from 2001,§Björn Heile analyses Mauricio Kagel s groundbreaking§cycle Die Stücke der Windrose für Salonorchester§(1989-95) by relating it to Mikhail Bakhtin s theory§of dialogics and the postcolonial criticism of Edward§Said. In a wide-ranging study, which includes§in-depth investigations of primary sources such as§the sketch materials and an interview with the§composer, Heile develops a typology of cross-cultural§musical representation which serves as the framework§for a discussion of the different ways Kagel engages§with his source materials. Throughout, the author§moves between such issues as compositional technique,§aesthetic questions, such as Kagel s challenge to§traditional notions of authorship, and the§ideological implications of cross-cultural musical§representation, which are interpreted in the light of§recent discourses. By developing pioneering§methodological approaches to cross-cultural§composition, which has become a prominent feature of§contemporary Western concert music, the book serves§as a significant and innovative contribution to§current discourses surrounding the musical§representation of otherness . In this doctoral dissertation, originally from 2001,§Björn Heile analyses Mauricio Kagel s groundbreaking§cycle Die Stücke der Windrose für Salonorchester§(1989-95) by relating it to Mikhail Bakhtin s theory§of dialogics and the postcolonial criticism of Edward§Said. In a wide-ranging study, which includes§in-depth investigations of primary sources such as§the sketch materials and an interview with the§composer, Heile develops a typology of cross-cultural§musical representation which serves as the framework§for a discussion of the different ways Kagel engages§with his source materials. Throughout, the author§moves between such issues as compositional technique,§aesthetic questions, such as Kagel s challenge to§traditional notions of authorship, and the§ideological implications of cross-cultural musical§representation, which are interpreted in the light of§recent discourses. By developing pioneering§methodological approaches to cross-cultural§composition, which has become a prominent feature of§contemporary Western concert music, the book serves§as a significant and innovative contribution to§current discourses surrounding the musical§representation of otherness .