Presenter:
What happens when we think about the history of musical modernism less as a proverbial “search for the new” than as a larger project in resisting or “breaking” repetition, whether it be the repetition of forms, laws, and languages, of genres and styles, or of themes, patterns, motives, etc.? What ramifications does this “breaking” have today for music as a repetitive practice—as a way of practicing repetition, but also of performing its very possibility?