Or looked back to the flowing

It is in this period after postmodernism that we can locate the music of Neville Hall (1962). On the broad fan of contemporary compositional trends, he is among those who remain committed to the aesthetic mission of art, who place their trust in the thoughtful structuration of form and the ascetic use of minimal material, and who question the
unambiguous referentiality of music. This results in a clear shift away from the postmodern
desire for a pronounced semantic conception of music and increased communicativeness.
At the same time, Hall abandons simpler Modernist ideas associated above all with shock,
innovation and the dismantling of existing techniques and procedures. Much more central to Hall’s considerations is the distinctly subtle selection of material and, even more, the formal processing of this material. It often turns out that the development of material and form are equated; more than the material itself, which is often expressively rudimentary, emphasis is placed on the way the material develops, accumulates or dissipates.