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This article considers the nature of the relationship between composers and musicologists and explores the aesthetic roots and ideas of my 5th String Quartet, Dancers on a Plane, which has recently been the subject of a musicological study.
In the last few months of his life, Bob Gilmore embarked on another major project: that of writing a book about my work. He pressed me to try to define what I meant by non-conceptual composition and composition as an art form. This is a condensation of some of the topics we talked about for many hours.
This article is a reflection on aspects of the compositional practice and aesthetics of the American composer Morton Feldman (1926–1987) as viewed from the perspective of a fellow composer. Writing as a colleague immersed in Feldman's work for more than three decades, Kevin Volans discusses Feldman's concepts of time and form; his approach to touch on the piano, and to instrumentation and tone colour generally; his relationship with the visual arts; his notational practices with regard to pitch and rhythm; his anti-conceptualist standpoint, and much else.
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