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UOA 67 - Music

RA1, RA2 and RA5c: Staff and output details and Category C staff circumstances


Beard, D J - Category : A

RA2 - Research outputs:

Number of outputs: 4

Output number: 1 of 4


'"A Face Like Music": Shaping Images into Sound in The Second Mrs Kong'

Output type: Journal article
Journal title: Cambridge Opera Journal
Month/year of publication: November 2006
Pagination: 273-300
Volume: 18 (3)
ISSN: 14740621
DOI: 10.1017/S0954586706002205 ?

Output number: 2 of 4


'The Shadow of Opera: Dramatic Narrative and Musical Discourse in Gawain'

Output type: Journal article
Journal title: twentieth-century music
Month/year of publication: September 2005
Pagination: 159-95
Volume: 2 (2)
ISSN: 14785730
DOI: 10.1017/S1478572206000259 ?

Output number: 3 of 4


'The Endless Parade: Competing Narratives in Recent Birtwistle Studies'

Output type: Journal article
Journal title: Music Analysis
Month/year of publication: March 2004
Pagination: 89-127
Volume: 23 (1)
ISSN: 0262-5245
DOI: 10.1111/j.0262-5245.2004.00196.x ?
Other relevant details: Offers a comprehensive and authoritative overview of recent scholarship on Harrison Birtwistle. Books by Hall, Cross and Adlington are subjected to very close reading: their views are summarised and contrasted, but also challenged and extended. Using the author's extensive knowledge of Birtwistle's sketches, Beard scrutinizes Hall's reading of the material and draws attention to relevant sketches that are not discussed elsewhere. New analytical and critical perspectives are presented, with the intention of clearly stating the author's own position on Birtwistle studies in general.

Output number: 4 of 4


'Britten's Ambiguities; Tippett's Times; Metzer's Borrowings'

Output type: Journal article
Journal title: Journal of the Royal Musical Association
Month/year of publication: October 2004
Pagination: 305-23
Volume: 129 (2)
ISSN: 14716933
DOI: 10.1093/jrma/129.2.305 ?
Other relevant details: Critically relates three important books that bring new cultural, philosophical and analytical perspectives to Britten, Tippett and twentieth-century music in general. Clarke's detailed critical-philosophical approach to Tippett, Rupprecht's innovative use of linguistic and social theory in relation to Britten’s operas and vocal music, and Metzer's wide-ranging consideration of musical borrowing and quotation in twentieth-century popular music, jazz and concert music are all carefully scrutinized. Metzer’s apparent conclusion that musical borrowing in twentieth-century music mocks the past is questioned and contrasted with differing evidence in the studies by Clarke and Rupprecht. New insights and suggestions for future research are suggested.