Dr Christine Dysers is an Assistant Professor in Music at Aalborg University. Her research is broadly concerned with music after 1989, with a particular focus on the aesthetics of repetition, music and the political, and the notion of the uncanny. Christine holds a PhD in music from City, University of London. Previously, she was affiliated with Columbia University as a Fulbright Visiting Scholar (2021) and with Uppsala University as a postdoctoral researcher (2022-25).

• List of Figures viiAcknowledgements xiIntroduction xiii1. Philosophies of Repetition 1Discovering Deleuze 4Circular thinking 12Seriality and the rhizomatic oeuvre 262. Different Repetitions 32The same, again 34The paradox of repetition 42The same, but different 50Calculating the unforeseen 623. Acts of Repetition 70Stories about repetition 73Repetitive stories 75Repetitive gestures 78Repetitive scenographies 874. Politics of Repetition 99It’s all about history 109Take the power back 119The analytic faculty 124The limits of the intertext 133Epilogue 137Notes 143References 150Index 163

'This perceptive volume offers the first sustained, book-length treatment of Bernhard Lang that manages to be at once accessible and intellectually ambitious... Dysers’s prose is an exemplar of scholarly clarity: she avoids needless obscurantism while still conducting a theoretically informed inquiry. Her interdisciplinary horizon, which crosses philosophy, theatre studies, and political aesthetics, is not artificial but functional; it helps make Lang’s music intelligible on its own terms. Equally important, the work fills a genuine gap in contemporary musicology: Lang has been comparatively overlooked in English-language scholarship, and Dysers’s volume should act as a corrective and as an invitation to further research. This book will be of value to a diverse readership: composers and performers interested in process-based composition, and musicologists who wish to expand the analytic toolbox for contemporary repertories. Dysers gives us an interpretative vocabulary that will make listening to Lang’s music richer and more exacting. The book is a model of how to write about a living composer without resorting to hagiography, and it should be required reading for anyone seeking to understand the aesthetics, philosophy, and method behind one of Europe’s most inventive contemporary composers.'