Add to ORKGA discussion of a Deleuzian rhizomatic historical model applied to the music of Mahler and to the interrelation of jazz and 'classical' musi
This thesis is about the ways in which the construction of genre yields musical meaning in concert m...
This article critically speculates on points of affinity and difference between, on the one hand, mu...
The function of this chapter is to examine Mahler’s philosophical concept of time and the embodimen...
A discussion of a Deleuzian rhizomatic historical model applied to the music of Mahler and to the in...
The rhizomatic, non-hierarchical model of historiography propounded by Gilles Deleuze, Félix Guattar...
‘Wiki’ promotes the instantaneous exchange, consumption and re-fashioning of phenomena across global...
Problems of jazz historiography are identified and discussed. The model of historiography offered by...
20th-century models of jazz historiography have principally been beholden to the evolutionary, work-...
20th-century models of jazz historiography have principally been beholden to the evolutionary, work-...
Rhizomatic models of historiography have been criticized for dislodging history from its ‘proper’ sp...
In Vienna from about 1918 until the 1930s, contemporaries perceived a high point in the music-histor...
The linear progression of time defines the very notion of the \uabModern\ubb as a discernible epoch ...
In combining music theory and cultural studies, my dissertation explores the ways in which Gustav Ma...
A perverse notion occurred to me following an involved discussion of Martin Heidegger's Being a...
The form of the first movement of Mahler’s Third Symphony has long been the subject of critical cont...
This thesis is about the ways in which the construction of genre yields musical meaning in concert m...
This article critically speculates on points of affinity and difference between, on the one hand, mu...
The function of this chapter is to examine Mahler’s philosophical concept of time and the embodimen...
A discussion of a Deleuzian rhizomatic historical model applied to the music of Mahler and to the in...
The rhizomatic, non-hierarchical model of historiography propounded by Gilles Deleuze, Félix Guattar...
‘Wiki’ promotes the instantaneous exchange, consumption and re-fashioning of phenomena across global...
Problems of jazz historiography are identified and discussed. The model of historiography offered by...
20th-century models of jazz historiography have principally been beholden to the evolutionary, work-...
20th-century models of jazz historiography have principally been beholden to the evolutionary, work-...
Rhizomatic models of historiography have been criticized for dislodging history from its ‘proper’ sp...
In Vienna from about 1918 until the 1930s, contemporaries perceived a high point in the music-histor...
The linear progression of time defines the very notion of the \uabModern\ubb as a discernible epoch ...
In combining music theory and cultural studies, my dissertation explores the ways in which Gustav Ma...
A perverse notion occurred to me following an involved discussion of Martin Heidegger's Being a...
The form of the first movement of Mahler’s Third Symphony has long been the subject of critical cont...
This thesis is about the ways in which the construction of genre yields musical meaning in concert m...
This article critically speculates on points of affinity and difference between, on the one hand, mu...
The function of this chapter is to examine Mahler’s philosophical concept of time and the embodimen...