Lamenting the 'regrettable tendency (of musical analysis) towards intellectual gymnastics that overlook aesthetic reality', Julian Littlewood makes good again and again his promise to consider the 'broader contexts of affect, kinetic control, stylistic reference, and closural strategies'. He is particularly attentive to performance makings and matters of texture. It is a tribute to his originality of approach that he has been able to add distinctively to the already considerable literature on this subject. Nicholas Marston, King's College Cambridge
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