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Aaron Jay Kernis$
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Leta E. Miller

Print publication date: 2014

Print ISBN-13: 9780252038532

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252038532.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 05 June 2020

Looking to the Future

Looking to the Future

Chapter:
(p.152) 8 Looking to the Future
Source:
Aaron Jay Kernis
Author(s):

Leta E. Miller

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252038532.003.0008

This concluding chapter evaluates Aaron Jay Kernis's music. Critics have made much of his embrace of diversity, noting the influence of tonality and atonality, jazz, pop, and Baroque music, modernism and minimalism, intricate counterpoint and static ostinati—or as Mark Swed put it succinctly in 1995, “extravagance and eclecticism.” Kernis, however, resists the word eclecticism because implicit in it is the image of collage. Inclusivity, yes; a welcoming of diversity, certainly: but never with the aim of creating a static mixture, however bold it might be. Rather, Kernis's music—even in its slowest and most introverted manifestation—always emphasizes directionality. Moreover, the element of narrative is always present in his music. Hence the importance for Kernis of the motivating stimuli, be they political events, mosaics, life-cycle experiences, poetry, paintings, or simply an emotional state.

Keywords:   Aaron Jay Kernis, jazz, Baroque music, static ostinati, narrative, modernism, minimalism

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