267:, which served as the piece's inspiration. In the Concerto for Double Orchestra (2001) static harmonies are spatially distributed back and forth between a split orchestra with a focus on the "edges" of the chords through accented pizzicatos and dynamics rather than "bleeding" them together. Both of these works demonstrate Volans's concerns with moving the site of musical discourse to the margins of the material, a strategy inspired by his lifelong interest in visual art. The music tends to focus on the interplay between dynamics, voicings, register, timbre and types of attack; parameters which are usually considered secondary to larger-scale transformations in the domain of pitch and rhythm. The reduced approach to content directs attention towards changes in the slightest details and encourages a form of engagement perhaps more prevalent in the world of visual art.
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139:(WDR) to undertake a number of field trips between 1976 and 1979 to South Africa to record various kinds of indigenous African music that he began to actively take an interest in this music. These field trips alerted him to aspects of indigenous African culture, both musical and visual, which he had previously overlooked. He thus set about planning a series of works in which he attempted to reconcile African and European aesthetics. At the start of the series Volans envisaged that the African source material would be quite recognizable but as the series progressed he would gradually exercise more and more intervention into it so that by the end of the series the African material would be fully assimilated into his own style:
55:) movement in the city. In the late 1970s he became interested in the indigenous music of his homeland and began a series of pieces which attempted to combine aspects of African and contemporary European music. Although Volans later moved away from any direct engagement with African music, certain residual elements such as interlocking rhythms, repetition and open forms are still detectable in his music since the early 1990s which takes a new direction more redolent of certain schools of abstract art. He settled in Ireland permanently in 1986 and was granted Irish citizenship in 1994.
123:(New Simplicity) movement which began with a concert series organised by Zimmermann in January 1977. Composers linked with the New Simplicity generally sought a more transparent and direct style, an openness to aspects of tonality and a freedom to use pre-existing material quite in contrast to the intense abstraction of the post-war avant garde.
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Mondrian, Yves Klein, Rothko, Agnes Martin, Brice Marden and others immediately spring to mind... At the turn of the century I became increasingly interested in eliminating subject matter in my music as far as possible. My ideal would be the equivalent of the blank canvas. I am still a long way off achieving this: old habits die hard.
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I planned a series of pieces which were graded (as a learning curve) from pure transcription (in the manner of Bach) through paraphrase (as in Liszt), quotation as object trouvé (Charles Ives) assimilation (in the tradition of
Stravinsky and Bartók) to what was then called an "invented folklore"—what
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This tendency towards reduction is not universal, however. Perhaps due to the inherent nature of the medium, Volans's concertante works such as the Trio
Concerto (2005) and the Piano Concerto No. 2 (2006) are notable for their virtuosic writing and dynamism. Volans's most recent work constitutes yet
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Two works in particular demonstrate this tendency – String
Quartet No. 6 and the Concerto for Double Orchestra. String Quartet No. 6 is not in fact a string quartet at all but a piece for two spatially separated string quartets which can be performed live with both quartets or with one live and the
185:, such as the second and third quartets, continue to use some African references, but display an increasing preoccupation with non-directional narratives influenced by the uneven and often random patterns present in African textiles, as well as the open approach to time present in the late works of
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Despite the success of the
African series, Volans began to find himself increasingly categorized as an "African" composer—a label which he found creatively restricting. In the late 1980s he began to pursue a new direction, developing a style characterized by an overall tendency towards increasing
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Looking back over the music of the 20th century, I have been struck by how on the whole mainstream music has been very "busy"... Emptiness has not been a favourite mode of expression. By contrast, visual artists have repeatedly simplified their imagery and had regular "clean-outs". Malevich,
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As a political statement, Volans, as a white South
African, felt that the series might lend some sort of contribution to the struggle against apartheid and some performances were met with protests from the musical establishment in South Africa. The most well-known piece from the series is
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While Volans's music has often been viewed as a reaction to the perceived excesses of serialism, it is nevertheless significant that his approach to dynamics and articulation is always structurally rather than expressively directed. In this way, Volans identifies with the tradition of
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s reduction in content and largely flat surface is a departure from the generally high degree of activity which marked many of his earlier works. Although there is no recognizably
African material present in the piece, the existence of interlocking patterns, inherent rhythms and open
22:
63:
Volans was born in
Pietermaritzburg, South Africa, on 26 July 1949. During his teenage years, he developed an interest in the music of the post-war avant garde as well as abstract painting. He pursued a Bachelor of Music degree at the
299:(2008) contain instruments playing at different tempi propelled for the most part by irregular repetition. The transparent scoring and negation of any sense of goal-orientated progression lends the music a static floating quality.
237:'s Skyspaces. The piece involves very gradual adjustments of tone, harmonic colour and tempo being applied to a repeated sonority based on a B-flat major and A major triads. Described by the composer as his first minimalist piece,
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other pre-recorded. The vast majority of the piece consists of just two chords which overlap between both quartets creating a blurring of the harmonies not unlike the blurring of colour fields in the paintings of
214:. A parallel development to this was his increasing interest in writing for dance, an art-form particularly suited to Volans's open conception of formal structure and he has collaborated with the choreographers
115:, Volans began to question the hegemony of the prevailing new-music style that was based on an extension of the serial techniques of the previous generation. This group of composers, loosely referred to as the
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While in
Cologne Volans became increasingly dissatisfied with the new-music movement in the city, which he perceived to be dogmatic and creatively restricting. Alongside other composers such as
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Clarkson
Fletcher, J., J. Dazeley, J. Taylor, and E. Wetherall. n.d. "Towards New Models for the Analysis of Post-serial and Post-tonal Music, with Particular Reference to Kevin Volans'
249:, Volans limited the content and pursued a similar policy of incremental changes at the margins of the material. The reduction of material in these pieces is even more extreme than in
165:(1982) for two harpsichords, viola da gamba and percussion. In this piece Volans attempted to "Africanize" Western European art music by transferring paraphrases and transcriptions of
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String
Quartet No. 5: 'Dancers on a Plane', String Quartet No. 4: 'The Ramanujan Notebooks', Movement for String Quartet (The Duke Quartet, CD, Collins Classics, 1994)
368:) Since moving to Ireland in 1985 he has exerted a considerable influence on the direction of music in the country through his teaching. His notable students include
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The Preservation of Subjectivity through Form: The Radical Restructuring of Disintegrated Material in the Music of Gerald Barry, Kevin Volans And Raymond Deane
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Smith, Adrian (2011), "Light, Space, Colour: The Impact of Abstract Visual Stimuli on the Aesthetic of Kevin Volans", in Cox, Gareth; Horton, Julian (eds.),
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String Quartet No. 2: 'Hunting; Gathering', String Quartet No. 6, String Quartet No. 1: 'White Man Sleeps' (The Duke Quartet, CD, Black Box, 2002)
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152:(1982), which is largely non-traditional in style, and where the music is expanded to encompass the wider range of the harpsichord, through to
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453:, Concerto for Piano and Wind Instruments, Untitled (Netherlands Wind Ensemble, cond. Wim Steinmann and Daniel Harding, CD, Chandos, 1999)
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abstraction occasionally punctuated by works where literal African elements once again re-emerge. This is clearly seen in works such as
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287:(2007), much of the new work explores the interaction between individual parts playing independently of each other to some degree. The
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in London organised a "Kevin Volans Day" of concerts, and in 2019 the Wigmore Hall again had a concert celebrating his 70th birthday.
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music, as well as his own material, onto re-tuned period instruments. The subsequent reworking of the piece for a recording by the
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Pooley, Thomas M. 2008. "Composition in Crisis: Case Studies in South African Art Music 1980–2006". Unpublished MA Dissertation:
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By refusing to repeat himself or anyone else, Volans remains one of the planet's most distinctive and unpredictable voices.
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String Quartet No. 2: 'Hunting Gathering', String Quartet No. 3: 'The Songlines' (Balanescu Quartet, CD, Decca/Argo, 1994)
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strictures which largely prohibited the intermingling of black and white cultures. It wasn't until he was commissioned by
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Volans, Kevin. 2009. Concert programme for his 60th birthday concert at the Royal Kilmainham Hospital Dublin (4 July).
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Scherzinger, Martin. 2008. "Who's 'White Man Sleeps'? Aesthetics and Politics in the Early Work of Kevin Volans". In
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Scherzinger, Martin. 2004–2005. "Of Sleeping White Men: Analytic Silence in the Critical Reception of Kevin Volans".
1717:. 2006. "'Zur Freiheit fĂĽhren viele Wege': Der Componist Kevin Volans ĂĽber Afrika und die Musikalische Avantgarde".
148:(1981) (now withdrawn) which involved traditional patterns, some newly composed patterns and a nontraditional coda,
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Despite having grown up in South Africa, Volans had little contact with the indigenous music of his homeland due to
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Proceedings of the 25th Annual Congress of the Musicological Society of Southern Africa, Grahamstown, August 1998
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non-developmental forms demonstrate how African elements continue to inform his work in a background capacity.
1797:: Bulletin of the International Society for Contemporary Music – South African Section, Third and Fourth Issue
439:(Guitar version of Dance No. 4) (Tilman Hoppstock, CD, Signum, 1995) Into Darkness (Sequenza, CD, Neuma, 1998)
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I thought of as a new music of southern Africa, or music for a new South Africa. Thus the series began with
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532:. (Sontonga Quartet, Pumeza Matshikiza, Lwazi Ncube, William Kentridge, DVD, Marian Goodman Gallery, 2002)
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became one of the biggest-selling string-quartet releases of all time. The works immediately following
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1378:. SA Composers, Composers National Collegium profile at African Music Online (Retrieved 26 June 2018).
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1852:: Bulletin of the International Society for Contemporary Music – South African Section, Second Issue
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String Quartet No. 1: 'White Man Sleeps', (Dance no. 1) (Kronos Quartet, CD, Elektra Nonesuch, 1987)
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412:'Norwegian Wood: Happiness is a Warm Gun' (Lennon, arr. Volans) (Aki Takahashi, CD, EMI, 1991)
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Taylor, Timothy D. 1995. "When We Think about Music and Politics: The Case of Kevin Volans".
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40:
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Scherzinger, Martin. 2004. "Art Music in a Cross-cultural Context: The Case of Africa". In
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2000:
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String Quartet No. 3: 'The Songlines' (3 rd movement) (Balanescu Quartet, CD, Argos, 1994)
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325:
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String Quartet No. 2: 'Hunting Gathering' (Kronos Quartet, CD, Elektra Nonesuch, 1991)
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Olwage, Grant. 1999–2000. "Who Needs Rescuing? A Reply to 'Gumboots to the Rescue'".
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String Quartet No. 1: 'White Man Sleeps' (Kronos Quartet, CD, Elektra Nonesuch, 1992)
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String Quartet No. 1: 'White Man Sleeps' (Kronos Quartet, CD, Elektra Nonesuch, 1987)
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223:
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Walton, Christopher. 2002–2003. "Kevin Volans 'String Quartets Nos. 1, 2 & 6'".
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1995:
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by Adam Roberts (Duke Quartet, Kevin Volans, DVD, The Jonathan Burrows Group, 1995)
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he moved in 1973 to Cologne, where he became one of only five students admitted to
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Smith, Adrian (2013). "Volans, Kevin". In Boydell, Barra; White, Harry (eds.).
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Everett-Green, Robert. 1990. "A Case for 'New Ears' from a Musical Innovator".
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Volans, Kevin. 2000. "Cicada". Sleeve notes to compact disc Black Box BBM1029.
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Lucia, Christine. 2009. "Celebrating Composer Kevin Charles Volans, b. 1949".
507:(Birmingham Contemporary Music Group, CD, Ikon Gallery/Kunstmuseum Bonn, 2008)
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478:(Guitar Quartet Version) (Dublin Guitar Quartet, CD, Grelslate Records, 2005)
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Field recordings made by Kevin Volans of music from Lesotho and South Africa
1789:, eds. N. Cook and A. Pople, 584–613. Cambridge: Cambridge University Press.
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listed Volans as one of the 50 most important living composers. In 1999 the
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in London hosted a 50th birthday celebration of his work, for his 60th the
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233:(1994) for two pianos, which was inspired by his experience inside one of
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Gaisford, Sue. 1999. "How We Met: Elizabeth Chatwin & Kevin Volans".
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356:, where he received a DMus in 1986. He was also composer in residence at
264:
1849:
1809:, edited by Grant Olwage, 209–235. Johannesburg: Wits University Press.
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Blake, Michael. 1993. "Almeida opera: Kevin Volans and Julian Grant".
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1387:. Biography at Music Sales Classical website (Retrieved 26 June 2018).
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81:
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Ballantine, Christopher. 2001–2002. "Christopher Ballantine reviews
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1420:. 2007. "Where the River Bends: The Cologne School in Retrospect".
210:(1993) based on the last year of the life of the 19th-century poet
84:
and eventually became his teaching assistant in 1975–76, replacing
80:. He became intimately acquainted with Stockhausen's extensions of
32:
405:(Original version) (The Smith Quartet, Kevin Volans, Robert Hill,
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and exemplifies a tendency which Volans has described as follows:
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469:(Netherlands Wind Ensemble, cond. Wim Steinmann, CD, CMC, 2001)
433:(Kevin Volans Ensemble, CD, WDR World Network Recording, 1995)
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List of music students by teacher: T to Z § Kevin Volans
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in Cologne in the 1970s and later became associated with the
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Loppert, Max. 1993. "Volans: The Man Who Strides The Wind".
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Potter, Keith. 1982. "Repetitive Music Again (and Again)".
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Concerto for Uilleann Pipes and large Orchestra (2016/17)
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463:(Mathilda Hornsveld, Jill Richards, CD, Black Box, 2000)
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Anon. n.d. (a) "Volans, Kevin". CMC Composer Profile. .
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is spatially separated into three ensembles while both
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Boston Composers and Kronos Quartets: Fear of Symmetry
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1585:. Cambridge and New York: Cambridge University Press.
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String Quartet No. 3 'The Songlines' (1988 rev. 1993)
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nostalgia. He has been described by the music critic
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Biography of Kevin Volans at musicsalesclassical.com
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278:(front row standing, 3rd from left), 2015 in Cologne
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graduating in 1972. After postgraduate study at the
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229:The key work which confirmed this new direction is
1664:Fox, James. 1988. "Staging Songlines: Interview".
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932:3 Books of Piano pieces for 'Young' Players (2012)
31:(born 26 July 1949) is a South African born Irish
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1787:The Cambridge History of Twentieth-century Music
1626:, eds. Brian Norton and Pamela Collins, 951–952.
686:String Quartet No. 5 'Dancers on a Plane' (1994)
625:Concerto for solo Percussion and ensemble (2012)
616:Chakra for 3 percussionists and Orchestra (2011)
307:and his music studiously avoids any lapses into
274:Volans (standing, 2nd from right, with composer
1824:The New Grove Dictionary of Music and Musicians
1462:. 2006. "Wild Air: The Music of Kevin Volans".
668:String Quartet No. 2 'Hunting: Gathering'(1987)
610:Piano Concerto No. 2 'Atlantic Crossing' (2006)
665:String Quartet No. 1 'White Man Sleeps' (1986)
601:Concerto for Piano and Wind Instruments (1995)
1910:
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283:another phase of development. Beginning with
88:. He also took lessons in music theatre from
1612:International Society for Contemporary Music
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536:Evidenti: A Film Conceived By Sylvie Guillem
1804:Composing Apartheid: Music For and Against
957:53,73369155794372 notes a second, for Clare
156:(1985) in which only the title is African.
1917:
1903:
1821:Taylor, Timothy D. 2001. "Volans, Kevin".
393:String Quartet No. 1: 'White Man Sleeps',
1838:Taylor, Timothy D. n.d. "Volans, Kevin".
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1875:Contemporary Music Centre, composer page
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1503:. Dublin: UCD Press. pp. 1033–1035.
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487:(David Adams, CD, All Write Music, 2008)
481:Piano Trio (Fidelio Trio, CD, NMC, 2008)
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2165:South African people of British descent
1775:. Dublin: Black Sheep Edition, 2003" .
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1555:White Man Sleeps: Composer's Statement
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513:(Dublin Guitar Quartet, CD, CMC, 2009)
409:, Robin Schuikowsky, CD, Landor, 1990)
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2160:South African people of Dutch descent
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1771:. Dublin: Black Sheep Edition, 2002;
1698:Gann, Kyle. 1998b. "Consumer Guide".
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1501:The Encyclopaedia of Music in Ireland
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92:as well as taking piano lessons from
16:Irish composer of South-African birth
2115:Alumni of the University of Aberdeen
1614:– South African Section, First Issue
947:Piano Etude No. 12 (2015, rev. 2018)
944:Piano Etude No. 11 (2015, rev. 2018)
941:Piano Etude No. 10 (2015, withdrawn)
870:
578:Concerto for Double Orchestra (2001)
1778:South African Journal of Musicology
1746:South African Journal of Musicology
1644:South African Journal of Musicology
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1086:
896:She Who Sleeps with a Small Blanket
538:(Duke Quartet, DVD, NVC Arts, 1995)
499:She Who Sleeps with a Small Blanket
399:She Who Sleeps with a Small Blanket
384:(Robin Schulkowsky, CD, Sony, 1985)
382:She Who Sleeps with a Small Blanket
345:For Volans's notable students, see
154:She Who Sleeps with a Small Blanket
13:
2155:South African emigrants to Ireland
1641:. 1998. "Gumboots to the Rescue".
1591:
1401:. London: Picador. pp. 63–69.
926:Piano Etudes Nos. 7 & 8 (2008)
889:
704:Chakra for 3 percussionists (2003)
14:
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2105:21st-century Irish male musicians
2095:20th-century Irish male musicians
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1817:, vol. 11, Four Courts Press
1572:Wigmore Hall (11 December 2019).
352:Volans taught composition at the
2100:21st-century classical composers
2090:20th-century classical composers
629:
126:
2140:Pupils of Karlheinz Stockhausen
1885:Dictionary of African Composers
1762:University of the Witwatersrand
1465:The Journal of Music in Ireland
66:University of the Witwatersrand
2130:Irish male classical composers
1454:43, no. ? (? February): .
1024:
920:Three Structural Etudes (2004)
560:The Man with Footsoles of Wind
517:
375:
208:The Man with Footsoles of Wind
1:
1704:43, no. 35 (1 September): 64.
1670:18, no. 12:138–139, 199, 202.
1574:"Kevin Volans' 70th Birthday"
991:
914:
852:Seven Clarinets and One Flute
206:(1991), as well as his opera
2150:South African male composers
2135:People from Pietermaritzburg
2110:Alumni of Maritzburg College
1827:, second edition, edited by
1723:5, September/October, 16–17.
1622:. 1992. "Volans, Kevin". In
923:Three Rhythmic Etudes (2003)
803:String Quartet no. 12 (2015)
761:String Quartet no. 11 (2013)
707:Piano Trio (2002, rev. 2005)
566:
76:'s composition class at the
58:
7:
1943:Hans-Christian von Dadelsen
1583:Music in Germany Since 1968
747:Trumpet, Vibe, Cello, Piano
695:String Quartet No. 6 (2000)
619:Piano Concerto no. 4 (2014)
613:Piano Concerto no. 3 (2010)
340:
245:In a number of works since
10:
2181:
2064:Pelle Gudmundsen-Holmgreen
1720:Neue Zeitschrift fĂĽr Musik
1581:Williams, Alastair. 2013.
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1036:www.wisemusicclassical.com
501:(Jonny Axelsson, CD, 2008)
358:Queen's University Belfast
344:
119:, marked the start of the
100:with Hans-Ulrich Humpert.
2120:Irish classical composers
2044:
1976:
1933:
1661:, ed. W. Lüdemann, 7–18.
1530:Perspectives of New Music
582:Strip-Weave for Orchestra
1395:(1989). "Kevin Volans".
963:
959:for midi keyboard (2016)
929:Piano Etude No. 9 (2008)
717:The Partenheimer Project
547:
505:The Partenheimer Project
285:The Partenheimer Project
2145:South African composers
1958:Wolfgang von Schweinitz
1844:, edited by Dean Roote.
1773:Three Structural Etudes
864:Blackbird:Blackbird 1–4
848:Piano Trio no. 3 (2017)
758:Piano Trio No. 2 (2009)
1624:Contemporary Composers
1508:Smith, Adrian (2015).
985:The Mountain that Left
596:Soloist with orchestra
562:, Chamber opera (1993)
321:
279:
260:
158:
137:Westdeutscher Rundfunk
70:University of Aberdeen
25:
1948:Detlev MĂĽller-Siemens
1815:Irish Musical Studies
1769:Three Rhythmic Etudes
1553:Volans, Kevin. n.d. "
1533:33, nos. 1–2:504–536.
1398:What Am I Doing Here?
1225:, pp. 1034–1035.
858:clarinet:violin:piano
604:Cello Concerto (1997)
543:Selected compositions
317:
273:
255:
141:
41:Karlheinz Stockhausen
24:
2059:Henning Christiansen
1938:Hans-JĂĽrgen von Bose
1835:. London: Macmillan.
1346:Anon. & n.d. (b)
981:3 Xhosa songs (2012)
767:Turning Point (2013)
764:Looping Point (2012)
607:Trio Concerto (2005)
589:Daar Kom die Alibama
556:, Dance Opera (1990)
366:Anon. & n.d. (c)
362:Princeton University
289:Partenheimer Project
1736:. 1989. "Preface".
1324:, pp. 208–209.
866:for 2 pianos (2018)
825:perc : piano 2
807:perc : piano 1
723:Mr. Handel's Return
354:University of Natal
193:Towards abstraction
1841:Grove Music Online
1695:(23 February): 76.
1639:Bräuninger, Jürgen
1610:: Bulletin of the
1409:The Globe and Mail
1202:, p. 183–184.
1164:Everett-Green 1990
1006:, pp. 1033–5.
976:Canciones del Alma
777:Matepe for Calefax
573:One Hundred Frames
407:Margriet Tindemans
326:BBC Music Magazine
280:
204:One Hundred Frames
39:. He studied with
26:
2072:
2071:
2036:Walter Zimmermann
2026:MesĂas Maiguashca
2016:Ladislav KupkoviÄŤ
1708:Grözinger, Jürgen
1701:The Village Voice
1692:The Village Voice
1679:(London), 4 July.
1667:The Village Voice
1451:The Village Voice
1426:148, no. 1901:27.
1423:The Musical Times
1358:Wigmore Hall 2019
1178:, pp. 182–3.
1089:, pp. 27‒42.
970:Gloso a lo Divino
871:Solo instrumental
860:(with CPE) (2017)
800:4 Marimbas (2015)
467:This is How it is
443:This is How it is
360:(1986–89) and at
224:Shobana Jeyasingh
105:Walter Zimmermann
2172:
2011:Johannes Fritsch
1996:Daniel Chorzempa
1928:(New Simplicity)
1926:Neue Einfachheit
1919:
1912:
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1868:Official website
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1738:New Observations
1730:, 68, 1102–1104.
1716:
1654:White Man Sleeps
1586:
1577:
1568:
1563:
1558:
1534:
1523:
1504:
1487:
1478:
1469:
1455:
1440:10.2307/25434494
1427:
1418:Fox, Christopher
1413:
1402:
1388:
1383:Anon. n.d. (c).
1379:
1374:Anon. n.d. (b).
1361:
1355:
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1028:
1022:
1016:
1007:
1001:
662:(1984 rev. 1987)
642:White Man Sleeps
476:White Man Sleeps
437:White man Sleeps
403:White Man Sleeps
331:Southbank Centre
216:Jonathan Burrows
183:White Man Sleeps
163:White Man Sleeps
121:Neue Einfachheit
113:Michael von Biel
98:electronic music
82:serial technique
2180:
2179:
2175:
2174:
2173:
2171:
2170:
2169:
2075:
2074:
2073:
2068:
2054:Hans Abrahamsen
2040:
2006:Christopher Fox
1986:Clarence Barlow
1972:
1968:Manfred Trojahn
1929:
1923:
1866:
1865:
1862:
1857:
1812:
1767:Rörich, Mary. "
1757:28 August 1982.
1755:Classical Music
1710:
1676:The Independent
1594:
1592:Further reading
1589:
1520:10.21427/D7401T
1483:
1468:6, no. 6:22–29.
1369:
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1134:
1126:
1117:
1109:
1105:
1097:
1093:
1085:
1081:
1073:
1069:
1065:, p. 1033.
1061:
1050:
1040:
1038:
1030:
1029:
1025:
1017:
1010:
1002:
998:
994:
966:
917:
892:
890:Solo percussion
873:
632:
598:
569:
554:Correspondences
550:
545:
520:
378:
370:Jennifer Walshe
350:
343:
276:Mary Jane Leach
195:
129:
94:Aloys Kontarsky
78:Musikhochschule
61:
49:Neue Einfacheit
17:
12:
11:
5:
2178:
2168:
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2162:
2157:
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2132:
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2097:
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2066:
2061:
2056:
2050:
2048:
2042:
2041:
2039:
2038:
2033:
2028:
2023:
2018:
2013:
2008:
2003:
1998:
1993:
1988:
1982:
1980:
1978:Cologne School
1974:
1973:
1971:
1970:
1965:
1960:
1955:
1950:
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1934:
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1893:
1892:
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1877:
1872:
1861:
1860:External links
1858:
1856:
1855:
1845:
1836:
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1765:
1758:
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1734:Marcus, Bunita
1731:
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1620:Blake, Michael
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1403:
1393:Chatwin, Bruce
1389:
1380:
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1365:
1363:
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1350:
1338:
1326:
1314:
1312:, p. 207.
1302:
1300:, p. 204.
1290:
1278:
1276:, p. 203.
1263:
1261:, p. 202.
1251:
1239:
1237:, p. 187.
1227:
1204:
1192:
1190:, p. 184.
1180:
1168:
1156:
1144:
1142:, p. 514.
1132:
1115:
1103:
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1079:
1077:, p. 214.
1067:
1048:
1032:"Kevin Volans"
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753:No Translation
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660:Kneeling Dance
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342:
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220:Siobhan Davies
212:Arthur Rimbaud
194:
191:
187:Morton Feldman
179:Kronos Quartet
128:
125:
117:Cologne School
90:Mauricio Kagel
60:
57:
53:New Simplicity
45:Mauricio Kagel
15:
9:
6:
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3:
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2125:Living people
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2017:
2014:
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1963:Ulrich Stranz
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1452:
1448:. 1998a. "".
1447:
1443:
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1376:Volans, Kevin
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1160:
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1148:
1141:
1136:
1129:
1124:
1122:
1120:
1112:
1107:
1101:, p. 67.
1100:
1095:
1088:
1083:
1076:
1075:Williams 2013
1071:
1064:
1059:
1057:
1055:
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996:
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951:Marabi Nights
949:
946:
943:
940:
937:
936:PMB Impromptu
934:
931:
928:
925:
922:
919:
918:
909:
906:
903:
900:
897:
894:
893:
884:
881:
878:
877:clarinet:solo
875:
874:
865:
862:
859:
856:
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850:
847:
844:
841:
838:
837:cello:piano 2
835:
832:
829:
826:
823:
820:
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811:
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802:
799:
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766:
763:
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754:
751:
748:
745:
742:
739:
736:
733:
730:
729:Violin: Piano
727:
724:
721:
718:
715:
712:
709:
706:
703:
700:
697:
694:
691:
688:
685:
682:
679:
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664:
661:
658:
655:
654:Leaping Dance
652:
649:
646:
643:
640:
637:
634:
633:
630:Chamber music
624:
621:
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451:Leaping Dance
448:
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293:Violin: Piano
290:
286:
277:
272:
268:
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254:
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243:
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236:
235:James Turrell
232:
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147:
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127:Africa series
124:
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114:
110:
106:
101:
99:
96:and studying
95:
91:
87:
83:
79:
75:
71:
67:
56:
54:
50:
46:
42:
38:
34:
30:
23:
19:
2031:Kevin Volans
2030:
2021:John McGuire
2001:Péter Eötvös
1991:Gerald Barry
1848:
1839:
1833:John Tyrrell
1822:
1814:
1803:
1793:
1786:
1782:25, 151–154.
1776:
1772:
1768:
1754:
1750:19, 105–108.
1744:
1737:
1727:
1718:
1699:
1690:
1674:
1665:
1658:
1652:
1642:
1630:
1623:
1606:
1602:
1582:
1528:
1510:
1500:
1474:
1463:
1460:Gilmore, Bob
1449:
1421:
1407:
1396:
1385:Kevin Volans
1353:
1341:
1329:
1317:
1305:
1293:
1281:
1254:
1249:, p. 1.
1242:
1230:
1195:
1183:
1171:
1159:
1152:Gilmore 2006
1147:
1135:
1113:, p. 6.
1106:
1099:Chatwin 1989
1094:
1082:
1070:
1039:. Retrieved
1035:
1026:
1021:, p. 5.
999:
984:
975:
969:
956:
950:
935:
907:
901:
895:
882:
876:
863:
857:
851:
842:
836:
830:
824:
818:
812:
806:
795:7 Bass Winds
794:
788:
782:
776:
770:
752:
746:
741:Cello: Piano
740:
735:Viola: Piano
734:
728:
722:
716:
711:Shiva Dances
710:
698:
689:
680:
674:
659:
653:
648:Walking Song
647:
641:
635:
588:
581:
572:
559:
553:
535:
529:
523:
511:Four Guitars
510:
504:
498:
494:
490:
485:Walking Song
484:
475:
466:
460:
456:
450:
447:Walking song
446:
442:
436:
430:
402:
398:
394:
381:
351:
335:Wigmore Hall
324:
323:In 1997 the
322:
318:
301:
297:Cello: Piano
296:
292:
288:
284:
281:
261:
256:
250:
246:
244:
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230:
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207:
203:
199:
196:
182:
162:
159:
153:
149:
145:
142:
130:
120:
109:Gerald Barry
102:
86:Richard Toop
62:
48:
29:Kevin Volans
28:
27:
18:
2085:1949 births
2046:Ny Enkelhed
1711: [
1635:186, 52–53.
1477:37, no. 1:.
1412:(10 March).
1286:Volans 2009
1247:Volans 2000
1140:Taylor 1995
883:L'Africaine
771:Calefaccion
530:Zeno at 4am
524:Dance Films
518:Filmography
376:Discography
295:(2008) and
265:Mark Rothko
202:(1990) and
74:Stockhausen
2079:Categories
1850:NewMusicSA
1795:NewMusicSA
1683:Gann, Kyle
1608:NewMusicSA
1446:Gann, Kyle
1334:Gann 1998a
1322:Smith 2015
1310:Smith 2015
1298:Smith 2015
1274:Smith 2015
1259:Smith 2015
1235:Smith 2015
1223:Smith 2013
1200:Smith 2015
1188:Smith 2015
1176:Smith 2015
1128:Volans n.d
1111:Lucia 2009
1063:Smith 2013
1019:Lucia 2009
1004:Smith 2013
992:References
915:Solo piano
587:Symphony:
309:postmodern
1806:Apartheid
1685:. 1988. "
1648:18, 1–16.
1540:0031-6016
1493:0256-8837
1433:0027-4666
813:Akrodha 3
699:1000 bars
584:(2002–03)
567:Orchestra
313:Kyle Gann
305:modernism
133:apartheid
59:Biography
1854:, 22–24.
1799:, 22–26.
1087:Fox 2007
783:7 Flutes
690:Untitled
364:(1992).(
341:Students
33:composer
1780:: SAMUS
1748:: SAMUS
1646:: SAMUS
1475:Musicus
1367:Sources
1041:17 June
908:Akrodha
819:for Bob
675:Chevron
491:Akrodha
239:Cicada'
200:Chevron
175:Lesotho
171:Nyungwe
169:, San,
37:pianist
1657:". In
1616:, 7–8.
1603:Cicada
1547:833716
1545:
1538:
1491:
1431:
987:(2013)
978:(2009)
972:(2006)
953:(2016)
938:(2014)
910:(1998)
904:(1997)
902:Asanga
898:(1985)
885:(2016)
879:(2015)
854:(2017)
845:(2017)
839:(2016)
833:(2016)
827:(2016)
821:(2015)
815:(2015)
809:(2015)
797:(2015)
791:(2014)
789:Abhaya
785:(2014)
779:(2013)
773:(2013)
755:(2009)
749:(2009)
743:(2009)
737:(2008)
731:(2008)
725:(2008)
719:(2007)
713:(2006)
701:(2002)
692:(1996)
683:(1994)
681:Cicada
677:(1990)
656:(1984)
650:(1984)
644:(1982)
638:(1980)
636:Matepe
591:(2010)
575:(1991)
495:Asange
457:Cicada
251:Cicada
247:Cicada
231:Cicada
150:Matepe
111:, and
1740:67:2.
1728:Opera
1715:]
1632:Tempo
1543:JSTOR
964:Vocal
843:Spoor
548:Stage
461:Duets
431:Mbira
395:Mbira
167:Venda
146:Mbira
1831:and
1557:". .
1536:ISSN
1489:ISSN
1429:ISSN
1043:2024
315:as:
222:and
173:and
43:and
35:and
1689:".
1605:".
1516:doi
1480:hdl
1436:doi
2081::
1713:de
1266:^
1207:^
1118:^
1051:^
1034:.
1011:^
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218:,
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1911:t
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1764:.
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1549:.
1522:.
1518::
1495:.
1482::
1438::
1360:.
1348:.
1336:.
1288:.
1166:.
1154:.
1130:.
1045:.
349:.
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
