Studying Arik Shapira’s 1982/2003 opera Aqedah (Binding), this article probes the boundaries of Shapira’s resistance to the Zionist ideological apparatus. Having set the banishment of Ishmael (Genesis 21) side by side with the binding of Isaac (Genesis 22), Shapira highlighted the intricate network of correspondences between these two stories while restoring balance to Jewish victimhood, which usually excluded Ishmael in favour of politically actualising Isaac. To reflect the brutality embedded in these biblical stories (nationally appropriated or not), Shapira disintegrated the text into syllables to which he assigned mostly even durations and inert pitches; the result was a deliberately unemotional and stringent reportage, whose violent conveyance equalled its desemanticisation. Shapira’s use of musical and textual ready-mades in the third movement of Aqedah is situated here alongside an oratorio that reverences similar ready-mades, and in so doing affirms the nationalisation of the Holocaust (Noam Sheriff’s The Revival of the Dead), and a poem by Yizhak Laor, which marks a dialectical threshold Shapira could never cross. Despite his ensnarement, Shapira’s almost vandalistic approach signalled the separation of art music from territorial nationalism.

This article explores the extent to which Michael Zev Gordon’s A Kind of Haunting is a work of postmemory, a concept defined and refined by Marianne Hirsch to describe memories inherited by the generations that follow one that has experienced great collective trauma. I complicate some of the claims around the efficacy of music as a site of postmemorial aesthetics by considering the limits of musical representation in Gordon’s work via theories of spectacle and orientalism.

This article explores innovation in the chamber music that the internationally acclaimed composer Tan Dun (b. 1957) composed during the early 1980s, particularly his integration of traditional Chinese music elements with modern Western composition techniques. A detailed analysis of a representative selection of these early chamber music works focuses on Tan Dun’s pursuit of cultural symbols within a contemporary musical landscape. The findings highlight Tan Dun’s use of musical features such as microtones, aleatoric elements and special playing techniques to evoke traditional Chinese cultural traces in his compositions. The article also discusses his approach to polyphonic construction, which not only continues the horizontal melodic axis of Chinese music, but also creates rich vertical textures.

This article reflects upon the nature of ornamentation and how it applies within my recent works, Passacaglia (2021), Tor (2022), Fourteen transcriptions from across the plane (plain) (2023), and Through Gates Unseen (2023). I express ornamentation as a multifaceted set of activities which include the figurative, behavioural, layered and architectural. These components broadly move from the smallest sound unit to that of macro-level concerns. I argue that this behavioural aspect of ornamentation is exemplified by states of transition, density, kinetic energy, articulation and the organic. Here, ornamentation is used to distort and destabilise, as a vehicle for modulation, and as a framework for exploratory play between global and local-level details.

Mieko Shiomi (b. 1938) is a pioneering Japanese artist, composer, and performer, known for her lifelong practice that crosses the boundaries between music, visual art, and performance, which has evolved fluidly across cultures, media, and technologies. She co-founded a leading postwar Japanese experimental music collective, Group Ongaku, and later joined Fluxus at the invitation of George Maciunas, which led her to spend a year in New York from 1964–65. This article presents 11 images from an extended interview with Shiomi, conducted by composers Chikako Morishita and Akiko Yamane during their visit to her home in Osaka in January 2020, as part of the filming of the documentary Shadow Piece. In the interview, Shiomi reflects on her childhood, education, career, and family life, and discusses the creation and reception of works such as Endless Box, Mirror Piece, and Spatial Poem. The conversation, originally in Japanese, was translated into English by Kiyo Kamisawa and the author.

This article presents a survey of the work of the Montreal-based ensemble Quatuor Bozzini (QB), in celebration of 25 years of the quartet’s activity, both as performers and as educators. Four composers – Christopher Butterfield, Christopher Fox, Bryn Harrison and Linda Catlin Smith – offer their reflections on working with QB, and the musicologist Emanuelle Majeau-Bettez focuses in particular on QB’s collaboration with Éliane Radigue on her OCCAM DELTA XV.