This book brings together contributions from scholars working in analysis, hermeneutics, reception history, critical theory and the history of ideas. Recent research has begun to break down these perceptions and has found intriguing links between British music and modernism. Imaginative analytical and critical work on British music of the early twentieth century has been hindered by perceptions of the repertory as insular in its references and backward in its style and syntax, escaping the modernity that surrounded its composers.
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