000			02027 a2200253 4500
001			1138275093
005			20250317100410.0
008			250312042016GB eng
020			_a9781138275096
037			_bTaylor & Francis _cGBP 52.99 _fBB
040			_a01
041			_aeng
072	7		_aAVLA _2thema
072	7		_a3MP _2bisac
072	7		_aAVGC6 _2bic
072	7		_aMUS000000 _2bisac
072	7		_a780.92 _2bisac
100	1		_aRichard McGregor
245	1	0	_aPerspectives on Peter Maxwell Davies
250			_a1
260			_aOxford _bRoutledge _c20160826
300			_a200 p
520			_b"As a composer one forgets, in time, the fine detail of composition processes which produced past work... it must be left to scholars to recreate, slowly and painstakingly, earlier creative processes." Peter Maxwell Davies. In the eight essays presented here, leading scholars of the music of Peter Maxwell Davies explore some of the composer's creative processes. David Roberts, Peter Owens and Richard McGregor examine Davies's employment of pitch-class sets and other models evident in his sketch material, while Joel Lester looks at the serial elements that produce structure and effect in the work Ave Maris Stella. The political, literary and musical influences evident in the 1987 opera Resurrection and in subsequent orchestral works come under scrutiny from John Warnaby. Davies's use of older dramatic forms and ritual is the focus of Michael Burden's examination of his music theatre. The composer's own descriptions of his compositional process contain distinctly modernist overtones as Arnold Whittall suggests in the concluding essay in the volume. The sustained textural multiplicity evident in much of Davies's music points to this modernism. It is a multiplicity mirrored in the variety of approaches taken by the commentators in this volume. The differing points of view on offer complement and contrast each other, allowing the reader to appreciate the different levels on which Davies's music works.
999			_c2270 _d2270