Mark Hutchinson – författare

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Adès, Kaija Saariaho, Tōru Takemitsu and György Kurtág, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

This book offers an authoritative overview of the history of evangelicalism as a global movement, from its origins in Europe and North America in the first half of the eighteenth century to its present-day dynamic growth in Africa, Asia, Latin America and Oceania. Starting with a definition of the movement within the context of the history of Protestantism, it follows the history of evangelicalism from its early North Atlantic revivals to the great expansion in the Victorian era, through to its fracturing and reorientation in response to the stresses of modernity and total war in the late nineteenth and early twentieth centuries. It describes the movement's indigenization and expansion toward becoming a multicentered and diverse movement at home in the non-Western world that nevertheless retains continuity with its historic roots. The book concludes with an analysis of contemporary worldwide evangelicalism's current trajectory and the movement's adaptability to changing historical and geographical circumstances.

This book offers an authoritative overview of the history of evangelicalism as a global movement, from its origins in Europe and North America in the first half of the eighteenth century to its present-day dynamic growth in Africa, Asia, Latin America and Oceania. Starting with a definition of the movement within the context of the history of Protestantism, it follows the history of evangelicalism from its early North Atlantic revivals to the great expansion in the Victorian era, through to its fracturing and reorientation in response to the stresses of modernity and total war in the late nineteenth and early twentieth centuries. It describes the movement's indigenization and expansion toward becoming a multicentered and diverse movement at home in the non-Western world that nevertheless retains continuity with its historic roots. The book concludes with an analysis of contemporary worldwide evangelicalism's current trajectory and the movement's adaptability to changing historical and geographical circumstances.

Unlike other works on Glastonbury Abbey, this book examines the lives and relationships of its monks, using methods such as quantitative and network analysis to extract substantial data from records between 900 and 1550.The book's recurring theme is that, in one sense, Glastonbury was not remarkable at all; yet in another, both the people and the place were extraordinary. This book argues that, through 400 years of national turbulence, Glastonbury Abbey - hidden away in Somerset - kept calm and carried on successfully managing its estates, fulfilling its spiritual duties, and becoming the wealthiest monastery in England. In addition, it is proposed that after Glastonbury's Late Saxon zenith, it was never a place of significant national importance until the English Romantic Period, when its mystique was revived. Chapter 1 sets the context for the research. The demographics of Glastonbury monks and their living conditions are explored in Chapter 2, and their education and careers in Chapter 3. The abbot's role, reputation, and performance are assessed in Chapter 4, while Chapter 5 examines Glastonbury's relationships with people and institutions. Agency theory is used to examine the abbey's power dynamics and prestige in Chapter 6. In Chapter 7, Glastonbury Abbey as a place and corporation is explored through its property and seignorial lordship.This book is written for the enquiring mind and historians who want facts and a different approach to history.

Unlike other works on Glastonbury Abbey, this book examines the lives and relationships of its monks, using methods such as quantitative and network analysis to extract substantial data from records between 900 and 1550.The book's recurring theme is that, in one sense, Glastonbury was not remarkable at all; yet in another, both the people and the place were extraordinary. This book argues that, through 400 years of national turbulence, Glastonbury Abbey - hidden away in Somerset - kept calm and carried on successfully managing its estates, fulfilling its spiritual duties, and becoming the wealthiest monastery in England. In addition, it is proposed that after Glastonbury's Late Saxon zenith, it was never a place of significant national importance until the English Romantic Period, when its mystique was revived. Chapter 1 sets the context for the research. The demographics of Glastonbury monks and their living conditions are explored in Chapter 2, and their education and careers in Chapter 3. The abbot's role, reputation, and performance are assessed in Chapter 4, while Chapter 5 examines Glastonbury's relationships with people and institutions. Agency theory is used to examine the abbey's power dynamics and prestige in Chapter 6. In Chapter 7, Glastonbury Abbey as a place and corporation is explored through its property and seignorial lordship.This book is written for the enquiring mind and historians who want facts and a different approach to history.

Unlike other works on Glastonbury Abbey, this book examines the lives and relationships of its monks, using methods such as quantitative and network analysis to extract substantial data from records between 900 and 1550.The book's recurring theme is that, in one sense, Glastonbury was not remarkable at all; yet in another, both the people and the place were extraordinary. This book argues that, through 400 years of national turbulence, Glastonbury Abbey - hidden away in Somerset - kept calm and carried on successfully managing its estates, fulfilling its spiritual duties, and becoming the wealthiest monastery in England. In addition, it is proposed that after Glastonbury's Late Saxon zenith, it was never a place of significant national importance until the English Romantic Period, when its mystique was revived. Chapter 1 sets the context for the research. The demographics of Glastonbury monks and their living conditions are explored in Chapter 2, and their education and careers in Chapter 3. The abbot's role, reputation, and performance are assessed in Chapter 4, while Chapter 5 examines Glastonbury's relationships with people and institutions. Agency theory is used to examine the abbey's power dynamics and prestige in Chapter 6. In Chapter 7, Glastonbury Abbey as a place and corporation is explored through its property and seignorial lordship.This book is written for the enquiring mind and historians who want facts and a different approach to history.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Adès, Kaija Saariaho, Tōru Takemitsu and György Kurtág, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners'' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.

What does it mean to talk about musical coherence at the end of a century characterised by fragmentation and discontinuity? How can the diverse influences which stand behind the works of many late twentieth-century composers be reconciled with the singular immediacy of the experiences that they can create? How might an awareness of the distinctive ways in which these experiences are generated and controlled affect the way we listen to, reflect upon and write about this music? Mark Hutchinson outlines a novel concept of coherence within Western art music from the 1980s to the turn of the millennium as a means of understanding the work of a number of contemporary composers, including Thomas Adès, Kaija Saariaho, Tōru Takemitsu and György Kurtág, whose music cannot be fitted easily into a particular compositional school or analytical framework. Coherence is understood as a multi-layered phenomenon experienced, above all, in the act of listening, but reliant upon a variety of other aspects of musical experience, including compositional statements, analysis, and connections of aesthetic, as well as listeners'' own, imaginative conceptualisations. Accordingly, the approach taken here is similarly multi-faceted: close analytical readings of a number of specific works are combined with insights drawn from philosophy and aesthetics, music perception, and critical theory, with a particular openness to novel metaphorical presentations of basic musical ideas about form, language and time.