Keith Potter – författare

The American composers la Monte Young, Terry Riley, Steve Reich and Philip Glass are widely regarded as pioneers of the aesthetic and the techniques of minimalism in musical composition during the 1960s and early 1970s. This book offers the most detailed account so far of their early works, putting extensive discussion of the music into a biographical perspective. The true musical minimalism of these years is placed in the wider context of their music as a whole, and considered within the cultural conditions of the period which saw not only the rise of minimalism in the fine arts but also crucial changes in the theory and practice of musical composition in the Western cultivated tradition.

In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.

In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.

In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.

In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.

Garry Rogers played a key role in one of the UK's most successful undercover policing operations, targeting the football hooliganism which blighted the domestic and international game. From Old Trafford to Turkey and Sweden to Sardinia, this working class lad turned undercover cop infiltrated some of the most notorious hooligan gangs at club and England level as part of Greater Manchester Police's ground-breaking Omega Unit.When the force extended its undercover policing operations to target serious and violent crime, it was Garry who gained the trust of armed robbers, drug dealers and a murderer securing the evidence to take them off the streets, often for many years.But after five years at the cutting edge of covert operations, and with a new, inexperienced and ultimately corrupt officer in charge of the unit, Garry found himself dangerously exposed to violent criminals living just minutes from his family home. And when he turned to the force for support he was met with a wall of silence, accusations, and what one chief constable later described as a Masonic conspiracy that eventually pushed him out of the job after 28 years. Now he's determined to tell his story - the truth, the whole truth and nothing but the truth.

A former police officer reveals all in a shocking autobiography “detailing his time undercover amongst some of the UK’s toughest criminals” (Daily Mirror).Garry Rogers played a key role in one of the UK’s most successful undercover policing operations, targeting the football hooliganism which blighted the domestic and international game. From Old Trafford to Turkey and Sweden to Sardinia, this working class lad turned undercover cop infiltrated some of the most notorious hooligan gangs at club and England level as part of Greater Manchester Police’s groundbreaking Omega Unit.When the force extended its undercover policing operations to target serious and violent crime, it was Garry who gained the trust of armed robbers, drug dealers and a murderer securing the evidence to take them off the streets, often for many years.But after five years at the cutting edge of covert operations, and with a new, inexperienced and ultimately corrupt officer in charge of the unit, Garry found himself dangerously exposed to violent criminals living just minutes from his family home. And when he turned to the force for support he was met with a wall of silence, accusations, and what one chief constable later described as a Masonic conspiracy that eventually pushed him out of the job after 28 years. Now he’s determined to tell his story—the truth, the whole truth and nothing but the truth.

A former police officer reveals all in a shocking autobiography "e;detailing his time undercover amongst some of the UK's toughest criminals"e; (Daily Mirror). Garry Rogers played a key role in one of the UK's most successful undercover policing operations, targeting the football hooliganism which blighted the domestic and international game. From Old Trafford to Turkey and Sweden to Sardinia, this working class lad turned undercover cop infiltrated some of the most notorious hooligan gangs at club and England level as part of Greater Manchester Police's groundbreaking Omega Unit. When the force extended its undercover policing operations to target serious and violent crime, it was Garry who gained the trust of armed robbers, drug dealers and a murderer securing the evidence to take them off the streets, often for many years. But after five years at the cutting edge of covert operations, and with a new, inexperienced and ultimately corrupt officer in charge of the unit, Garry found himself dangerously exposed to violent criminals living just minutes from his family home. And when he turned to the force for support he was met with a wall of silence, accusations, and what one chief constable later described as a Masonic conspiracy that eventually pushed him out of the job after 28 years. Now he's determined to tell his story the truth, the whole truth and nothing but the truth.