Quotation and Framing: Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels

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Standard

Quotation and Framing : Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels. / Petersen, Nils Holger.

I: Contemporary Music Review, Bind 29, Nr. 3, 2010, s. 309-21.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningfagfællebedømt

Harvard

Petersen, NH 2010, 'Quotation and Framing: Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels', Contemporary Music Review, bind 29, nr. 3, s. 309-21.

APA

Petersen, N. H. (2010). Quotation and Framing: Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels. Contemporary Music Review, 29(3), 309-21.

Vancouver

Petersen NH. Quotation and Framing: Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels. Contemporary Music Review. 2010;29(3):309-21.

Author

Petersen, Nils Holger. / Quotation and Framing : Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels. I: Contemporary Music Review. 2010 ; Bind 29, Nr. 3. s. 309-21.

Bibtex

@article{37f3e2076ec348cfb63f0dd3b87a2b27,
title = "Quotation and Framing: Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels",
abstract = "The purpose of this article is to discuss Crumb’s musical and intermedial intertextuality mainly through his Black Angels: Thirteen Images from the Dark Land for Electric String Quartet (1970), as an individually original but also representative compositional practice for the twentieth century. As in other compositions, George Crumb has integrated musical quotations and various musical styles in Black Angels, including a web of references which extend into other media, in such a way that they form an indispensable part of the basic construction of the work: these components form part of its newness. In Black Angels the composer – among other well-known pieces of music – quotes the medieval dies irae sequence and the second movement of Schubert’s string quartet in D minor (D. 810). The musical and intermedial references are framed with striking modernistic sounds exploring instrumental possibilities far beyond the traditional, thus creating a framework of extreme contrasts. The paper will contextualize, analyze and interpret Black Angels – which the composer explicitly linked to the Vietnam War – in a broad context of music, intermediality, religious symbolism, and cultural memory, pointing to the cultural meaning of this technique of re-contextualization as a break with, as well as a continuation of, modernity.",
keywords = "Faculty of Theology, religious symbols; medieval liturgy; redemption",
author = "Petersen, {Nils Holger}",
year = "2010",
language = "English",
volume = "29",
pages = "309--21",
journal = "Contemporary Music Review",
issn = "0749-4467",
publisher = "Routledge",
number = "3",

}

RIS

TY - JOUR

T1 - Quotation and Framing

T2 - Re-contextualization and Intertextuality as Newness in George Crumb's Black Angels

AU - Petersen, Nils Holger

PY - 2010

Y1 - 2010

N2 - The purpose of this article is to discuss Crumb’s musical and intermedial intertextuality mainly through his Black Angels: Thirteen Images from the Dark Land for Electric String Quartet (1970), as an individually original but also representative compositional practice for the twentieth century. As in other compositions, George Crumb has integrated musical quotations and various musical styles in Black Angels, including a web of references which extend into other media, in such a way that they form an indispensable part of the basic construction of the work: these components form part of its newness. In Black Angels the composer – among other well-known pieces of music – quotes the medieval dies irae sequence and the second movement of Schubert’s string quartet in D minor (D. 810). The musical and intermedial references are framed with striking modernistic sounds exploring instrumental possibilities far beyond the traditional, thus creating a framework of extreme contrasts. The paper will contextualize, analyze and interpret Black Angels – which the composer explicitly linked to the Vietnam War – in a broad context of music, intermediality, religious symbolism, and cultural memory, pointing to the cultural meaning of this technique of re-contextualization as a break with, as well as a continuation of, modernity.

AB - The purpose of this article is to discuss Crumb’s musical and intermedial intertextuality mainly through his Black Angels: Thirteen Images from the Dark Land for Electric String Quartet (1970), as an individually original but also representative compositional practice for the twentieth century. As in other compositions, George Crumb has integrated musical quotations and various musical styles in Black Angels, including a web of references which extend into other media, in such a way that they form an indispensable part of the basic construction of the work: these components form part of its newness. In Black Angels the composer – among other well-known pieces of music – quotes the medieval dies irae sequence and the second movement of Schubert’s string quartet in D minor (D. 810). The musical and intermedial references are framed with striking modernistic sounds exploring instrumental possibilities far beyond the traditional, thus creating a framework of extreme contrasts. The paper will contextualize, analyze and interpret Black Angels – which the composer explicitly linked to the Vietnam War – in a broad context of music, intermediality, religious symbolism, and cultural memory, pointing to the cultural meaning of this technique of re-contextualization as a break with, as well as a continuation of, modernity.

KW - Faculty of Theology

KW - religious symbols; medieval liturgy; redemption

M3 - Journal article

VL - 29

SP - 309

EP - 321

JO - Contemporary Music Review

JF - Contemporary Music Review

SN - 0749-4467

IS - 3

ER -

ID: 32242835