The battle of Chronos and Orpheus : essays in applied musical semiology

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Bibliographic Information

The battle of Chronos and Orpheus : essays in applied musical semiology

Jean-Jacques Nattiez ; translated by Jonathan Dunsby

Oxford University Press, 2004

Other Title

Le combat de Chronos et d'Orphée

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Note

Bibliography: p. [289]-305

Includes index

Description and Table of Contents

Description

In this collection of previously unpublished essays Jean-Jacques Nattiez applies his theoretical foundations of musical semiotics to theorists such as Levi-Strauss, Hanslick, and Brailoiu; novelists such as Proust; and poets such as Baudelaire. The author treats problems which musicologists and music lovers alike need to address: the artistic product in music of oral tradition, the nature of musical facts, and questions of fidelity and authenticity in performance practice. Nattiez tackles these perennial issues with an originality born out of his focus on the status of time in the works considered. This approach allows him to take sides, sometimes in a provocative manner, in the ongoing debates which pit adherents of modernity against apologists of postmodernism.

Table of Contents

  • 1. MUSICAL SEMIOLOGY: BEYOND STRUCTURALISM, AFTER POSTMODERNISM
  • 1. Nostalgia is still what it was
  • 2. The structuralist paradise
  • 3. Beyond structure
  • 4. A semiological analysis
  • 5. Deconstructing the deconstructionists
  • 6. After postmodernism
  • 7. Musicology and values
  • 8. The battle of Chronos and Orpheus
  • 2. THE PAST ANTERIOR (LEVI-STRAUSS AND BRAILOIU)
  • 1. Myths and musical works are instruments for the obliteration of time
  • 2. Does the music of an oral tradition have a history?
  • 3. A model of collective musical creation
  • 4. Brailoiu's structuralism and its difficulties
  • 3. BOULEZ STRUCTRUALIST
  • 1. On reading Boulez
  • 2. Cortege of the ancestors
  • 3. The time of history
  • 4. The time of the work
  • 5. Totality, structure, and death
  • 4. GOULD OUT OF TIME
  • 1. Structure and atemporality in Gould's thinking
  • 2. Gould's denial of time
  • 3. The denial of time and self-destruction
  • 5. HANSLICK: THE CONTRADICTIONS OF IMMANENCE
  • 1. Is Hanslick a formalist?
  • 2. Hanslick's concept of musical beauty
  • 3. The composer and the interpreter
  • 4. Feeling and beauty for the listener
  • 5. The relevance of Hanslick's thinking
  • 6. FIDELITY, AUTHENTICITY, AND CRITICAL JUDGMENT
  • 1. Interpretation and hermeneutics
  • 2. The families of critical judgment in light of the semiological tripartition
  • 3. The critique of critical ideas
  • 4. The semiology of judgements of fidelity and authenticity
  • 5. The return of the beautiful in the era of doubt
  • 7. GOULD AS PRECURSOR OF POSTMODERNISM?
  • 1. Musical language and 'communication'
  • 2. A postmodern in the modernist era
  • 3. The future of music, I
  • 4. Nature of the creative process?
  • 5. The future of music, II
  • 8. MEMORY AND FORGETTING (WAGNER/PROUST/BOULEZ)
  • 1. Proliferations
  • 2. Orientations
  • 3. Opening/closing
  • 4. In praise of amnesia
  • 9. THE THREE NORNS AND THE LITTLE MADELEINE
  • 1. Proust's primordial nebula
  • 2. From Siegfried's Tod to Gotterdammerung
  • 3. Time regained
  • 10. TANNHAUSER THROUGH BAUDELAIRE'S LOOKING-GLASS: MODERN OR POSTMODERN?
  • 1. The carnal and the Platonic in the Tannhauser Overture
  • 2. Which Tannhauser did Baudelaire hear?
  • 3. Tannhauser as a theory of art
  • 4. A work that is completed but unfinished
  • 11. BOULEZ IN THE POSTMODERN ERA: THE TIME OF REPONS
  • 1. Modernism, postmodernism, and classicism
  • 2. The ideology of progress and the empiricism of evolution
  • 3. The crisis in musical 'communicaton'
  • 4. Repons in history
  • 5. Listening to Repons
  • 6. Conception and perception in Repons
  • 7. Sociologism and value judgment
  • 8. The classicism of Repons

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