No grief without joy
- Authors: Fourie, William
- Date: 2024
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/484393 , vital:78902 , xlink:href="https://doi.org/10.1017/S0040298223000785"
- Description: How does grief unfold and refold after the death of a loved one? How does it bend and diffract through the prism of loss? What are the possibilities of feeling or even love in the wake of bereavement? These questions linger as I listen to Lise Morrison's No grief without joy, released in July 2023 on Sawyer Editions. The debut portrait album comprises five works written between 2016 and 2019 in a time of feverish artistic growth while she was studying composition at the Royal Conservatoire in The Hague. Yet, as Morrison writes in the liner notes, this was also a ‘period that echoes, in part, the grief after [her] mother's passing at the end of 2015’.
- Full Text:
- Date Issued: 2024
- Authors: Fourie, William
- Date: 2024
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/484393 , vital:78902 , xlink:href="https://doi.org/10.1017/S0040298223000785"
- Description: How does grief unfold and refold after the death of a loved one? How does it bend and diffract through the prism of loss? What are the possibilities of feeling or even love in the wake of bereavement? These questions linger as I listen to Lise Morrison's No grief without joy, released in July 2023 on Sawyer Editions. The debut portrait album comprises five works written between 2016 and 2019 in a time of feverish artistic growth while she was studying composition at the Royal Conservatoire in The Hague. Yet, as Morrison writes in the liner notes, this was also a ‘period that echoes, in part, the grief after [her] mother's passing at the end of 2015’.
- Full Text:
- Date Issued: 2024
Difference in Contact: Early Music, Colonialism and the Archive
- Fourie, William, Haggett, George K
- Authors: Fourie, William , Haggett, George K
- Date: 2022
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/484315 , vital:78895 , xlink:href="https://doi.org/10.1017/rma.2022.18"
- Description: Towards the middle of 2021, the world felt like a shattered place. The fatigue of a little more than a year of social distancing was perhaps at its most acute and resuming a more immediate form of academic exchange seemed all but impossible. It was during this time that we were approached by this Journal’s then newly appointed reviews editor, Amanda Hsieh, to co-author a review article. It was an intriguing request for us both: review articles in the humanities are seldom co-authored and even more seldom by two authors with diverging backgrounds and research interests. George’s work focuses on medievalism and queer theory in contemporary opera, while William works on issues of modernism in post-apartheid South Africa. George is currently at the University of Oxford and William is at Rhodes University in the rural Eastern Cape province of South Africa. We had not written together before and neither of us had ever imagined working together. What were we to make of this request, which would require the reconciliation of so many differences, at a time when establishing the social closeness of thinking together seemed unfathomable?
- Full Text:
- Date Issued: 2022
- Authors: Fourie, William , Haggett, George K
- Date: 2022
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/484315 , vital:78895 , xlink:href="https://doi.org/10.1017/rma.2022.18"
- Description: Towards the middle of 2021, the world felt like a shattered place. The fatigue of a little more than a year of social distancing was perhaps at its most acute and resuming a more immediate form of academic exchange seemed all but impossible. It was during this time that we were approached by this Journal’s then newly appointed reviews editor, Amanda Hsieh, to co-author a review article. It was an intriguing request for us both: review articles in the humanities are seldom co-authored and even more seldom by two authors with diverging backgrounds and research interests. George’s work focuses on medievalism and queer theory in contemporary opera, while William works on issues of modernism in post-apartheid South Africa. George is currently at the University of Oxford and William is at Rhodes University in the rural Eastern Cape province of South Africa. We had not written together before and neither of us had ever imagined working together. What were we to make of this request, which would require the reconciliation of so many differences, at a time when establishing the social closeness of thinking together seemed unfathomable?
- Full Text:
- Date Issued: 2022
Morton Feldman-Morton Feldman, Morton Feldman Piano. Philip Thomas
- Authors: Fourie, William
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/484405 , vital:78903 , xlink:href="https://doi.org/10.1017/S0040298220000741"
- Description: ‘The scale of what is actually being represented, whether it be of the whole or of the part, is a phenomenon unto itself.’ Feldman’s words from his famous 1981 essay, ‘Crippled Symmetry’, echoed in my ears as I sat down to listen to Philip Thomas’s monumental new record of the composer’s piano music. It spans over four decades of the composer’s singular creative engagement with the instrument and has a total run-time of nearly six hours. The five-disc box set also contains a rich 52-page essay on Feldman’s piano music, which broaches a wide range of issues ranging from abstract, interpretative ideas regarding touch and decay to more practical discussions around notation.
- Full Text:
- Date Issued: 2021
- Authors: Fourie, William
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/484405 , vital:78903 , xlink:href="https://doi.org/10.1017/S0040298220000741"
- Description: ‘The scale of what is actually being represented, whether it be of the whole or of the part, is a phenomenon unto itself.’ Feldman’s words from his famous 1981 essay, ‘Crippled Symmetry’, echoed in my ears as I sat down to listen to Philip Thomas’s monumental new record of the composer’s piano music. It spans over four decades of the composer’s singular creative engagement with the instrument and has a total run-time of nearly six hours. The five-disc box set also contains a rich 52-page essay on Feldman’s piano music, which broaches a wide range of issues ranging from abstract, interpretative ideas regarding touch and decay to more practical discussions around notation.
- Full Text:
- Date Issued: 2021
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