Abstract
AbstractMartin Arnold is an experimental composer currently residing in Toronto, Canada. His unique approach to composition originates in the close relationship that he developed with Czech-Canadian composer Rudolf Komorous while Arnold was a doctoral student at the University of Victoria. Martin Arnold's desire to create music both familiar and unfamiliar, known and unknown, generates paradoxical listening experiences that reside on the edges of things. In this article, the author explores a number of these edges and meeting places, especially as they occur within the composer's very singular string quartet, Contact; Vault.
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