Abstract

This article considers the multifaceted world of the phenomena of globalization from the perspective of the languages of twentieth-century art music. In particular, it analyses Claude Debussy’s Pagodes, Stockhausen’s Inori and Telemusik, and Steve Reich’s Drumming as vehicles of encounter with a multiplicity of non-Western civilizations, reconstructing their respective generative contexts and the complex interplay of interfaces that underlie them.