Abstract

ABSTRACT:

This article contextualizes the dissonant modernist musical language Harry Somers employed for Louis Riel in relation to the internationalist avant-garde of the mid-twentieth century, with its complex political ramifications, and considers the suitability of the opera’s resultant musical-aesthetic challenge to listeners as a reflection of the conflictual and dissident elements of its subject.

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Additional Information

ISSN
1712-5278
Print ISSN
0042-0247
Pages
pp. 22-28
Launched on MUSE
2019-03-15
Open Access
No
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