Aspects of Closure in the Music of John Adams Author(s): Catherine Pellegrino Source: Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), pp. 147-175 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833551 Accessed: 06-07-2017 19:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/833551?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:51:20 UTC All use subject to http://about.jstor.org/terms ASPECTS OF CLOSURE IN THE MUSIC OF JOHN ADAMS CATHERINE PELLEGRINO NE OF THE MOST IMMEDIATE impressions I get of the works of John Adams from the early- to mid-1980s is the sense of closure-or the lack thereof-that comes at the end of a work. The last bars of Grand Pianola Music (1981-2), for instance, sound crashingly final, even though the very end itself is abrupt and unprepared.