Abstract
This article presents three composers from radically different aesthetic backgrounds, all born in 1951; it both analyzes their work individually and searches for connections between them on technical, aesthetic, and career grounds. Each composer is chosen as a representative of a certain archetypical language of the late twentieth century: Louis Karchin for East Coast modernism, Lois Vierk for minimalism, and Paul Dresher for a rock/minimalist/experimental music theater hybrid. The article points to a general loosening of strict stylistic definitions in these three composers as representatives of their generation, focussing on an increasingly common view of such issues as tonality, rhythm, repetition, the role of formalistic devices, and collaboration with performing artists and other artistic media.
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