Includes bibliographical references and index.

I. From Schubert to Bartók -- The 'tightened bow': analysing the juxtaposition of drama and lyricism in Schubert's paratactic sonata-form movements / Anne M. Hyland -- Schenkerian Ursatz and temporal meaning in Chopin's Prelude Op. 28, No. 5 / Antonio Cascelli -- Shared compositional strategies in Chopin's Nocturnes Op. 48 / Alison Hood -- Brahms, Bruckner and the concept of thematic process / Julian Horton -- The sense of an ending: Adorno, Brahms and music's return to the land of childhood / Nicole Grimes -- Nielsen and Sibelius 'between temperament and tradition' / Úna-Frances Clarke -- Formal structure in the finale of Bartók's Sonata for Two Pianos and Percussion / Michael Russ -- II. Twentieth-Century Irish Composition -- Technical focus and 'stylistic cleansing' in E.J. Moeran's Sonata for Two Violins and String Trio / Fabian Huss -- The bar of legitimacy? Serialism in Ireland / Gareth Cox -- The 'serial' works of A.J. Potter / Patrick Zuk -- Serial procedures in the early symphonies of John Kinsella / Séamas de Barra -- Irish folk tunes and minimalist techniques in Eric Sweeney's Concerto for Guitar (2004) / Hazel Farrell -- Music as image: the impact of visual stimuli on the music of Kevin Volans / Adrian Smith -- Multiplicities of musical language and select compositional devices in Roger Doyle's Babel (1989-99) / Barbara Jillian Dignam -- On constructing a sonic gangbang: system and subversion in Gerald Barry's Chevaux-de-frise / Mark Fitzgerald.