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Nyman's rise to international prominence during the last three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its parasitic borrowing of other composers' ideas and for its relentless self-borrowing. In this first book-length study in English, Pwyll ap SiÃ-n places Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism, and provides a series of useful contexts from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated.
Pwyll ap SiÃ-n is senior lecturer in music in the School of Music, University of North Wales, Bangor, UK.
Contents: Foreword; Introduction; Nyman 'on trial'; Man and boy: the early years; Texts in context; Mapping intertextuality in Nyman; Parallel universes: the Nyman-Greenaway soundtracks; Quotation in Nyman's neurological opera; Unchained melodies: intertextuality and inter-referentiality in the string quartets; The author returns: music at The Piano; Gene sequences and musical sequences: Facing Goya; Conclusion; Bibliography; Index.
