Hidden Disunities and Uncanny Resemblances: Connections and Disconnections in the Music of Lera Auerbach and Michael Nyman

Does stylistic appropriation serve to create a sense of unity or disunity, continuity or fragmentation? Taking George Lipsitz's notion of �families of resemblance� and intertextuality's dialogic qualities (as shown in the writings of Mikhail Bakhtin and Julia Kristeva), this article will put forward the argument that certain forms of quotation result in a kind of halfway house�an in-between state�where the text seemingly announces its own independence despite its (inter)dependence on a whole host of other intertexts. Unlike the collage-like, so-called polystylistic compositions of the late 1960s, which also used quotation, an altogether different and more deeply embedded form has developed since then, where the quoted material is integrated to a much greater extent on the surface, only to lay bare its �difference� at a deeper level. Such �hidden discontinuities� will be examined in relation to a single work, Lera Auerbach's Sogno di Stabat Mater (2005/2008), before applying Lipsitz's principle as a case study to Michael Nyman's oeuvre

Ensemble Concerts

A guitar ensemble concert performed at UNT College of Music Kenton Hall

Record collectors: Hollywood record labels in the 1950s and 1960s

The affiliation between film and music is the cornerstone of modern entertainment industry synergy. This article examines one of the key chapters in that relationship: the period in the 1950s during which the major studios entered the record business. Ostensibly designed to capitalise on the emerging film soundtrack market, the flurry of mergers, acquisitions and the establishment of new record labels coincided with the rise of rock'n'roll and the explosion of the market for recorded popular music. The studios quickly found that in order to keep their record labels afloat, they needed to establish a foothold in popular music. The processes by which they achieved this transformed the marketing of recorded music, sparking a period of unprecedented commercial success for the record industry in the late 1960s. Simultaneously, from these record subsidiaries Hollywood learned how to market cinema to a youth audience, heralding the arrival of 'New Hollywood'