For much of his career, the internationally known and still active
Dutch composer Louis Andriessen has been understood as an
iconoclast who challenged and resisted the musical establishment.
This 2007 book explores his compositions as a case study for
exploring the social and aesthetic implications of new music.
Everett chronicles the evolution of Andriessen's music over the
course of five decades: the formative years in which he
experimented with serialism and collage techniques; his political
activism in the late 1960s; 'concept' works from the 1970s that
provide musical commentary on philosophical writings by Plato, St
Augustine and others; theatrical and operatic collaborations with
Robert Wilson and Peter Greenaway in the 1980s and 1990s; and
recent works that explore contemplative themes on death and
madness. Everett's analysis of Andriessen's music draws on theories
of parody, narrativity, and intertextuality that have gained
currency in musicological discourse in recent years.