Tippett: A Child of Our Time

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Cambridge University Press, Oct 28, 1999 - Music - 111 pages
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Michael Tippett's oratorio A Child of Our Time was written at the beginning of the second world war as an expression of 'man's inhumanity to man'. It has become one of his most widely known works and one which is seen to symbolise the composer's extra-musical concerns, both political and psychological. This study places these concerns within a wider historical and cultural context while also focusing on specific aspects of Tippett's musical language. Central to this enquiry is Tippett's relationship to the work of T. S. Eliot, a relationship which is seen to condition both the text and its musical representation through Tippett's allusions to specific poetic images within the text and references to historical genres, forms and gestures within the musical dimension. Also of importance is the initial critical reception of the work, a reception which determined responses that still surround the work.
  

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Contents

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Copyright

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Page 2 - Firstly, the writer is a reader of texts (in the broadest sense) before s/he is a creator of texts, and therefore the work of art is inevitably shot through with references, quotations and influences of every kind. [...] Secondly, a text is available only through some process of reading; what is produced at the moment of reading is due to the cross-fertilisation of the packaged textual material (say, a book) by all the texts which the reader brings to it.
Page 2 - Wang, what distinguishes this intertextual approach from the traditional "influence study" or "source criticism" is a "major shift of the privileged center of signification from that of author/subject to that of...

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About the author (1999)

Kenneth Gloag is Reader in Musicology at Cardiff University. His publications include books on Tippett's A Child of Our Time (Cambridge, 1999) and Nicholas Maw: Odyssey (2008). He is the author of Postmodernism in Music (Cambridge, 2012), and has co-edited and contributed chapters to Peter Maxwell Davies Studies (Cambridge, 2009) and The Cambridge Companion to Michael Tippett (Cambridge, 2013).

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