Uploaded March 2016 | Updated September 2026, 1 week ago
Part of its larger research relationship with Montréal, CeReNeM staff composers have been working with the internationally renowned Canadian chamber ensemble, the Bozzini Quartet. Filmmaker Angela Guyton documents the project-in-progress with interviews with composers Monty Adkins, Mary Bellamy and Bryn Harrison and footage of their new works in workshop.
research.hud.ac.uk/institutes-centres/cerenem/projects/bozzini
quatuorbozzini.ca/en
brynharrison.com
pure.hud.ac.uk/en/persons/bryn-harrison
montyadkins.wordpress.com
pure.hud.ac.uk/en/persons/monty-adkins
britishmusiccollection.org.uk/composer/mary-bellamy
pure.hud.ac.uk/en/persons/mary-bellamy
Part of its larger research relationship with Montréal, CeReNeM staff composers have been working with the internationally renowned Canadian chamber ensemble, the Bozzini Quartet. Filmmaker Angela Guyton documents the project-in-progress with interviews with composers Monty Adkins, Mary Bellamy and Bryn Harrison and footage of their new works in workshop.
research.hud.ac.uk/institutes-centres/cerenem/projects/bozzini
quatuorbozzini.ca/en
brynharrison.com
pure.hud.ac.uk/en/persons/bryn-harrison
montyadkins.wordpress.com
pure.hud.ac.uk/en/persons/monty-adkins
britishmusiccollection.org.uk/composer/mary-bellamy
pure.hud.ac.uk/en/persons/mary-bellamy
![Tim Rutherford-Johnson: Modern Composition and Culture since 1989 [24.11.2017]](https://i.ytimg.com/vi/hU0C1K96mv8/mqdefault.jpg "Tim Rutherford-Johnson: Modern Composition and Culture since 1989 [24.11.2017]
Music journalist and critic Tim Rutherford-Johnson discusses his acclaimed book Music After The Fall: Modern Composition and Culture Since 1989. Music after the Fall is the first book to survey contemporary Western art music within the transformed political, cultural, and technological environment of the post–Cold War era. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall.
Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback. Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss.
Presented as part of hcmf// 2017.
https://johnsonsrambler.wordpress.com/
https://www.ucpress.edu/book.php?isbn=9780520283152
http://www.cerenem.org/")
