Bernhard Lang: Critical Guides to Contemporary Composers: Critical Guides to Contemporary Composers
Autor Christine Dysersen Limba Engleză Paperback – 14 aug 2026
The work of Austrian composer Bernhard Lang eludes easy categorization. While rooted simultaneously in DJ culture, free jazz, pop culture, and the Austro-European new music scene, his oeuvre explicitly foregrounds repetition. He is, in his own words, a “repeat offender.”
Bernhard Lang serves as a critical guide to the composer’s music and traces the phenomenon of repetition throughout his oeuvre. To examine Lang’s repetitive aesthetics, Christine Dysers employs various philosophical methods, such as Gilles Deleuze’s differential ontology. Fusing critical musicology, aesthetic theory, poststructuralist thought, and music analysis, Bernhard Lang brings fresh insight to the work of an award-winning contemporary composer.
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Specificații
ISBN-13: 9781835953563
ISBN-10: 1835953565
Pagini: 190
Ilustrații: 42 b-w (musical scores and 3 photographs)
Dimensiuni: 170 x 244 x 15 mm
Greutate: 0.45 kg
Editura: Intellect Ltd
Colecția Intellect Ltd
Seria Critical Guides to Contemporary Composers
ISBN-10: 1835953565
Pagini: 190
Ilustrații: 42 b-w (musical scores and 3 photographs)
Dimensiuni: 170 x 244 x 15 mm
Greutate: 0.45 kg
Editura: Intellect Ltd
Colecția Intellect Ltd
Seria Critical Guides to Contemporary Composers
Notă biografică
Christine Dysers is a postdoctoral researcher in the Uppsala University Department of Musicology.
Cuprins
List of Figures vii
Acknowledgements xi
Introduction xiii
1. Philosophies of Repetition 1
Discovering Deleuze 4
Circular thinking 12
Seriality and the rhizomatic oeuvre 26
2. Different Repetitions 32
The same, again 34
The paradox of repetition 42
The same, but different 50
Calculating the unforeseen 62
3. Acts of Repetition 70
Stories about repetition 73
Repetitive stories 75
Repetitive gestures 78
Repetitive scenographies 87
4. Politics of Repetition 99
It’s all about history 109
Take the power back 119
The analytic faculty 124
The limits of the intertext 133
Epilogue 137
Notes 143
References 150
Index 163
Acknowledgements xi
Introduction xiii
1. Philosophies of Repetition 1
Discovering Deleuze 4
Circular thinking 12
Seriality and the rhizomatic oeuvre 26
2. Different Repetitions 32
The same, again 34
The paradox of repetition 42
The same, but different 50
Calculating the unforeseen 62
3. Acts of Repetition 70
Stories about repetition 73
Repetitive stories 75
Repetitive gestures 78
Repetitive scenographies 87
4. Politics of Repetition 99
It’s all about history 109
Take the power back 119
The analytic faculty 124
The limits of the intertext 133
Epilogue 137
Notes 143
References 150
Index 163
Recenzii
"Dysers explores the concept of repetition, insightfully examining Lang's use of textual quotation, and his practice of musical borrowing. She argues that while repetition is commonly treated as reiteration of a previously explored idea, this is too reductive. She treats it more as radical instability. [...] The book is indebted to music theory, psychology and post-structuralist philosophy, and Dysers has engaged in extended interviews with the composer."
"This perceptive volume offers the first sustained, book-length treatment of Bernhard Lang that manages to be at once accessible and intellectually ambitious... Dysers’s prose is an exemplar of scholarly clarity: she avoids needless obscurantism while still conducting a theoretically informed inquiry. Her interdisciplinary horizon, which crosses philosophy, theatre studies, and political aesthetics, is not artificial but functional; it helps make Lang’s music intelligible on its own terms. Equally important, the work fills a genuine gap in contemporary musicology: Lang has been comparatively overlooked in English-language scholarship, and Dysers’s volume should act as a corrective and as an invitation to further research. This book will be of value to a diverse readership: composers and performers interested in process-based composition, and musicologists who wish to expand the analytic toolbox for contemporary repertories. Dysers gives us an interpretative vocabulary that will make listening to Lang’s music richer and more exacting. The book is a model of how to write about a living composer without resorting to hagiography, and it should be required reading for anyone seeking to understand the aesthetics, philosophy, and method behind one of Europe’s most inventive contemporary composers."