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- W1515072961 abstract "This article discusses the use of tonal quotation/pastiche in George Crumb’s Black Angels (1970) in the context of an analysis of the entire work. I draw from Losada’s work on postmodernism and collage to understand the organization of the quotation/pastiche movements, and I draw from Bass’s work on Crumb to understand the non-tonal pitch structures in the quartet as a whole. But I suggest that the quartet—an unusual combination of palindromic design and goal-oriented, programmatic activity—also engages the paradigms of Erlösung (Darcy) and teleological genesis (Hepokoski), which suggest a link between Black Angels and the romantic symphonic tradition and which provide a context for understanding the role played by the quotation/pastiche movements in the work." @default.
- W1515072961 created "2016-06-24" @default.
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- W1515072961 date "2012-06-01" @default.
- W1515072961 modified "2023-10-12" @default.
- W1515072961 title "Between Romanticism and Modernism and Postmodernism: George Crumb’s<i>Black Angels</i>" @default.
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- W1515072961 doi "https://doi.org/10.30535/mto.18.2.3" @default.
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