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Distributed for Intellect Ltd

Bernhard Lang

Critical Guides to Contemporary Composers

This introduction to a challenging contemporary composer delves into the theory and philosophy of repetition.
 
The work of Austrian composer Bernhard Lang elides easy categorization. While rooted simultaneously in DJ culture, free jazz, pop culture and the Austro-European new music scene, his oeuvre explicitly foregrounds repetition. He is, in his own words, a “repeat offender.”
 
Bernhard Lang serves as a critical guide to the composer’s music and traces the phenomenon of repetition throughout his oeuvre. To examine Lang’s repetitive aesthetics, Christine Dysers employs various philosophical methods, such as Gilles Deleuze’s differential ontology. Fusing critical musicology, aesthetic theory, poststructuralist thought, and music analysis, Bernhard Lang brings fresh insight to the work of an award-winning contemporary composer.

208 pages | 42 halftones | 6 3/4 x 9 1/2

Critical Guides to Contemporary Composers

Music: General Music


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Table of Contents

Figures         

Acknowledgements               

 

Introduction              

 

Chapter 1: Philosophies of repetition         


          Discovering Deleuze 
2.         Circular thinking                                 
3.         Seriality and the rhizomatic oeuvre    

Chapter 2: Different repetitions                  


The same, again 
2.         The paradox of repetition                   
3.         The same, but different                       
4.         Calculating the unforeseen                 

Chapter 3: Acts of repetition                       


Stories about repetition 
2.         Repetitive stories                                
3.         Repetitive gestures                             
4.         Repetitive scenographies                    

Chapter 4: Politics of repetition                  


It’s all about history                         
2.         Take the power back                           
3.         The analytic faculty                            
4.         The limits of the intertext                   

 

Epilogue                     

 

Notes                          

Bibliography             

Index                         

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