Relevant bibliographies by topics / Peter Maxwell Davies

Academic literature on the topic 'Peter Maxwell Davies'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Peter Maxwell Davies"

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Jones, Nicholas, and Richard McGregor. "Perspectives on Peter Maxwell Davies." Music and Letters 83, no. 1 (February 1, 2002): 147–51. http://dx.doi.org/10.1093/ml/83.1.147.

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Venn, Edward. "Peter Maxwell Davies new and classic." Tempo 59, no. 233 (June 21, 2005): 79–80. http://dx.doi.org/10.1017/s0040298205260254.

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MAXWELL DAVIES: Miss Donnithorne's Maggot; Eight Songs for a Mad King. Jane Manning (sop), Kelvin Thomas (bar), Psappha. PSA CS 1001MAXWELL DAVIES: Naxos Quartets Nos. 1 and 2. Maggini Quartet. Naxos 8.557396
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McGregor, Richard E. "Peter Maxwell Davies: The Early Works." Tempo, no. 160 (March 1986): 2–7. http://dx.doi.org/10.1017/s0040298200023007.

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No Composer Comes Fully-Formed into the world, and Peter Maxwell Davies is no exception; but many of the ideas and concepts on which his mature style rests are present in seminal form in the first published works. No compositions are available for general study before the Trumpet Sonata, op.l (1955), but those that have been seen by friends and colleagues are variously described as being ‘remarkably traditional’ and showing influences ‘such as Bartók’.
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Gloag, Kenneth. "Review: Peter Maxwell Davies: A Source Book." Music and Letters 85, no. 3 (August 1, 2004): 499. http://dx.doi.org/10.1093/ml/85.3.499.

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Fox, Christopher. "SIR PETER MAXWELL DAVIES: A PERSONAL REFLECTION." Tempo 70, no. 277 (June 10, 2016): 79–81. http://dx.doi.org/10.1017/s0040298216000279.

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Wright, David, Max, and Mike Seabrook. "The Life and Music of Peter Maxwell Davies." Musical Times 136, no. 1824 (February 1995): 97. http://dx.doi.org/10.2307/1193635.

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Francis, Mary C., and Mike Seabrook. "Max: The Life and Music of Peter Maxwell Davies." Notes 53, no. 1 (September 1996): 79. http://dx.doi.org/10.2307/900310.

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Desbruslais, Simon. "Peter Maxwell Davies, Selected Writings (Cambridge University Press, 2018)." Royal Musical Association Research Chronicle 51 (January 2020): 159–61. http://dx.doi.org/10.1017/rrc.2019.4.

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McGregor, Richard. "Walking the Line: Deconstructing Identity, Suicide and Betrayal in Peter Maxwell Davies' Mr Emmet Takes a Walk." Cambridge Opera Journal 24, no. 3 (November 2012): 319–51. http://dx.doi.org/10.1017/s0954586712000274.

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AbstractThis article explores how Peter Maxwell Davies uses thematic and structural devices to chart the means by which the title character in Mr Emmet Takes a Walk is led towards suicide. Discussion centres on how Davies integrates use of quotation and trademark musical gestures into the development of characterisation in order to explore different states of ‘reality, dream and waking fantasy’ by which he seeks to explain the reasons for Emmet's suicide.
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McGregor, Richard E. "The Maxwell Davies Sketch Material in the British Library." Tempo, no. 196 (April 1996): 9–20. http://dx.doi.org/10.1017/s0040298200004939.

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The British Library recently acquired the sketch material for a good number of works by Peter Maxwell Davies, ranging from some of the earliest pieces up to, at the time of writing, music of the early 1990s. The purpose of this article is to present an overview of the available material and to demonstrate some of the valuable insights it affords into the composer's working methods.
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Dissertations / Theses on the topic "Peter Maxwell Davies"

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Roberts, David. "Techniques of composition in the music of Peter Maxwell Davies." Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.392307.

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Jones, Nicholas James. "Analytical perspectives on the third symphony of Peter Maxwell Davies." Thesis, Cardiff University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403645.

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Adduci, Kathryn James. "An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/adduci%5Fkathryn/index.htm.

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Valente, Joana de Abreu Freire Teixeira. "Estudo prévio para a performance de The Médium de Sir Peter Maxwell Davies." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/3590.

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Mestrado em Música
O presente trabalho pretende fazer uma abordagem à obra The Medium de Sir Peter Maxwell Davies, do ponto de vista do intérprete na construção da sua performance, na preparação do personagem pela compreensão e exegese da sua re-criação e execução musical. O trabalho está estruturado em três principais momentos. Um primeiro momento em que se faz referência à informação recolhida sobre a prática de Teatro Musical relacionando-se este estilo musical com o trabalho composicional de Maxwell Davies e contextualizando o leitor sobre a obra em questão. Um segundo momento deste trabalho é dedicado à análise e à investigação performativa da obra “The Medium”, com o intuito de encontrar, enquanto intérprete e performer, um sentido possivel para a condução performativa da obra. Por fim, um terceiro momento em que farei uma reflexão acerca do que foi construir o personagem, assim como sobre o processo de passar do imaginário para a prática, através da realização da gravação de diferentes partes da peça.
This paper intends to approach the Sir Peter Maxwell Davies's The Medium by point of view of the interpreter in the construction of its performance and in the preparation of the character by understanding the exegesis of its re-creation and musical performance. The work is structured in three main moments. One first moment that refers to information collected about the practice of Musical Theater and the relation of this style of music with Maxwell Davies’s compositional work, contextualizing the reader of the work in question. A second stage of this work is dedicated to analysis and research performative of The Medium, in order to find, as interpreter and performer, one possible direction for the conduct of the performative work. Finally, a third moment when I will make a reflection about what was to build the character, as well as on the process of moving imagery to practice, by carrying out the recording from different parts of the play.
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Warnaby, John Surtees. "The music of Peter Maxwell Davies based on the writings of George MacKay Brown." Thesis, n.p, 1991. http://oro.open.ac.uk/19041/.

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Phillips, J. P. N. "Pathways in the music of Sir Peter Maxwell Davies : from precursor works to the first two symphonies." Thesis, University of Hull, 2011. http://hydra.hull.ac.uk/resources/hull:5776.

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This thesis presents analyses of the first and second symphonies of Sir Peter Maxwell Davies. It starts with an introductory part consisting of two chapters outlining the overall structure of what follows and describing four features and a number of devices found repeatedly in Davies’s music. This part is followed by three parts each consisting of an introductory chapter describing and explaining one of the three serial structures used by Davies, transposition squares, transformation processes and magic squares: in each part, the introductory chapter is followed by one or more chapters giving analyses of the orchestral works by Davies using the device. The third of these three parts deals with magic squares, and the orchestral work analysed is the Symphony No. 1: the following part also deals with magic squares, and presents an analysis of the Symphony No. 2. The thesis concludes with a fifth part consisting of a single chapter giving a retrospect, and prospects for future work.
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Fenn, Nirmali Kathlin. "Perter Maxwell Davies, Vesalii Icons : Narrative,Ritual,Image,Parody and Theatre." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530028.

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Rees, Jonathan. "Peter Maxwell Davies's 'Revelation and Fall' : influence study and analysis." Thesis, Open University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533132.

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This thesis is an analysis of Peter Maxwell Davies's Revelation and Fall, through the influences that affect the development of its musical language and adoption of the expressionist aesthetic. Each chapter concentrates upon one aspect of the work: (1) its deployment of precompositional processes of thematic transformation; (2) the superimposition of different levels of structural organization; (3) motivic working within thematic transformation and contrapuntal devices; (4) experiments with timbre and the manipulation of temporal flow; and (5) the dramatic and aesthetic influences that shape the presentation of the work. Throughout the thesis also runs a critique of certain trends in recent music analysis that seem to limit a full understanding of the analyzed work. I contend that restricting an analysis to the serial level of organization cannot prove the musical viability of the work. The other levels through which the work articulates its material must be identified by the analyst and given importance equal to this serial level. Through this thesis, I attempt to address Kevin Korsyn's complaint that some analyses (of music of all periods, not specifically Davies's) tend to view works as autonomous, synchronic entities, divorced from an artistic continuum of historical development, by focussing on the many connections with other music and ideas that inform the work's identity. Influence study is suggested as a method whereby the shortcomings of these analytical trends can be countered and the Conclusion of the thesis opposes the criticism of this method found not only in analytical studies, such as David Roberts's study of Davies's compositional techniques, discussed in Chapter One, but also a great number of commentaries on literary theory, particularly intertextuality.
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Pilkington, Shirley Anne. "The use of parody in Peter Maxwell Davies' Taverner and related works." Thesis, 1990. http://hdl.handle.net/10413/8891.

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Parody is a concept central to much of the work of Peter Maxwell Davies. In this study the First Fantasia on an In Nomine by John Taverner, the Seven In Nomine, the Second Fantasia on an In Nomine by John Taverner and the opera Taverner are used as case studies of Davies' use of parody. Three categories of parody are discerned: parody in its pre-Baroque sense which entails the use of musical material from pre-existing compositions; parody in its modern sense whereby a particular work or style is imitated in such a manner that the source is ridiculed or satirized; and the non-satirical parody of compositional devices, forms or other features characteristic of a particular musical period. All four works examined in this study use the 'In nomine' by the sixteenth-century composer John Taverner as a source of pre-compositional musical material. Each of Davies' In Nomine works is examined in detail and the composer's use of the device and its function in each instance is discussed. The chronological consideration of the In Nomine compositions, and of Taverner in particular, reveals a gradual change in the manner in which Davies employed parody in his compositions. Attention is thus given to the transition from the emphasis on parody in the Renaissance sense to the emphasis on parody in its modern sense and it is shown. that this transition clearly parallels the change that was taking place within Davies' general compositional style during the sixties. In conclusion, some reasons for the predominant role played by parody in Davies' output and the preoccupation with musical materials derived from the pre-Baroque are suggested, in order to show the relevance of Davies' use of parody within a twentieth-century context.
Thesis (M.Mus.)-University of Natal, Durban, 1990.
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Lord, Simon John. "‘An Anatomy of Betrayal’: metaphor, method and meaning in the opera Taverner by Peter Maxwell Davies." Thesis, 2020. http://hdl.handle.net/2440/130121.

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This thesis is the first detailed and evaluative study of the opera Taverner (Op. 45) by Peter Maxwell Davies. It is presented in two parts: Part A (Perspectives) and Part B (Critique). Part A contextualises the opera. It considers its subject, describes its genesis and location, identifies its influences and shows how the opera intersects with other works. Part B considers the opera’s component parts through an explanation of its principal themes, appraisal of the libretto, discussion of structure and an examination of compositional style. This is a critical study which is empirical as opposed to theoretical in character and takes as its point of departure an existing work and does not seek to apply or develop any particular theory. The methods involve a review of existing primary materials, chiefly the opera’s score, writings and talks by the composer, plus secondary sources. This project will not explore Davies’s compositional techniques through analysis since extensive research has already been done in this field. The thesis favours a hermeneutical approach and embraces influence study in seeking to explain the opera’s considerable extra-musical dimensions. As there is no detailed critique of Taverner the primary objective of this study, and in which lies its doctoral originality, is to address that omission. By a comprehensive reappraisal of the opera, the thesis aims to acknowledge the work’s seminal importance and confirm its pivotal position in the composer’s completed oeuvre. Further, a lack of critical engagement with the work allied to its continued absence in the opera house may conspire to the opera acquiring the status of neglected masterpiece. Hence, a secondary objective of the project is to stimulate renewed interest and make a case for the revival of Taverner on stage.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2020
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Books on the topic "Peter Maxwell Davies"

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Kenneth, Gloag, and Jones Nicholas, eds. Peter Maxwell Davies studies. Cambridge: Cambridge University Press, 2009.

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1953-, McGregor Richard, ed. Perspectives on Peter Maxwell Davies. Aldershot, [England]: Ashgate, 2000.

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Craggs, Stewart R. Peter Maxwell Davies: A source book. Aldershot: Ashgate, 2002.

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Peter Maxwell Davies: A bio-bibliography. Westport, Conn: Greenwood Press, 1995.

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Max: The life and music of Peter Maxwell Davies. London: V. Gollancz, 1994.

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Roberts, David. Techniques of composition in the music of Peter Maxwell Davies. Birmingham: University of Birmingham, 1985.

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Paul, Griffiths. Peter Maxwell Davies: A guide to the works for 1-17 instrumentalists : including vocal, choral and dramatic works. London: Judy Arnold, 1987.

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Peter Maxwell Davies. Taylor & Francis Group, 2021.

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Peter Maxwell Davies studies. Cambridge: Cambridge University Press, 2009.

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Gloag, Kenneth, and Nicholas Jones. Peter Maxwell Davies Studies. Cambridge University Press, 2011.

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Book chapters on the topic "Peter Maxwell Davies"

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Spangemacher, Friedrich. "Davies, Peter Maxwell." In Metzler Komponisten Lexikon, 190–92. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_77.

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Schulz, Reinhard. "Peter Maxwell Davies." In Kammermusikführer, 148–51. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_26.

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Spangemacher, Friedrich. "Davies, Peter Maxwell." In Komponisten Lexikon, 146–48. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_74.

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"Peter Maxwell Davies." In Masterworks of 20th-Century Music, 154–56. Routledge, 2013. http://dx.doi.org/10.4324/9780203616949-10.

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Roberts, David. "Alma Redemptoris Mater." In Perspectives on Peter Maxwell Davies, 1–22. Routledge, 2017. http://dx.doi.org/10.4324/9781315089850-1.

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Owens, Peter. "Worldes Blis and its satellites." In Perspectives on Peter Maxwell Davies, 23–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315089850-2.

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Burden, Michael. "A foxtrot to the crucifixion: the music theatre of Peter Maxwell Davies 1." In Perspectives on Peter Maxwell Davies, 51–65. Routledge, 2017. http://dx.doi.org/10.4324/9781315089850-3.

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Lester, Joel. "Structure and effect in Ave Maris Stella." In Perspectives on Peter Maxwell Davies, 66–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315089850-4.

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Warnaby, John. "Peter Maxwell Davies’s recent music, and its debt to his earlier scores." In Perspectives on Peter Maxwell Davies, 75–92. Routledge, 2017. http://dx.doi.org/10.4324/9781315089850-5.

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McGregor, Richard. "Compositional processes in some works of the 1980s." In Perspectives on Peter Maxwell Davies, 93–114. Routledge, 2017. http://dx.doi.org/10.4324/9781315089850-6.

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