内容

目次

1. MUSICAL SEMIOLOGY: BEYOND STRUCTURALISM, AFTER POSTMODERNISM; 1.Nostalgia is still what it was; 2. The structuralist paradise; 3. Beyondstructure; 4. A semiological analysis; 5. Deconstructing thedeconstructionists; 6. After postmodernism; 7. Musicology and values; 8. Thebattle of Chronos and Orpheus; 2. THE PAST ANTERIOR (LEVI-STRAUSS ANDBRAILOIU); 1. Myths and musical works are instruments for the obliteration oftime; 2. Does the music of an oral tradition have a history?; 3. A model ofcollective musical creation; 4. Brailoiu's structuralism and itsdifficulties; 3. BOULEZ STRUCTRUALIST; 1. On reading Boulez; 2. Cortege ofthe 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 inGould's thinking; 2. Gould's denial of time; 3. The denial of time andself-destruction; 5. HANSLICK: THE CONTRADICTIONS OF IMMANENCE; 1. IsHanslick a formalist?; 2. Hanslick's concept of musical beauty; 3. Thecomposer and the interpreter; 4. Feeling and beauty for the listener; 5. Therelevance of Hanslick's thinking; 6. FIDELITY, AUTHENTICITY, AND CRITICALJUDGMENT; 1. Interpretation and hermeneutics; 2. The families of criticaljudgment in light of the semiological tripartition; 3. The critique ofcritical 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 OFPOSTMODERNISM?; 1. Musical language and 'communication'; 2. A postmodern inthe modernist era; 3. The future of music, I; 4. Nature of the creativeprocess?; 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 LITTLEMADELEINE; 1. Proust's primordial nebula; 2. From Siegfried's Tod toGotterdammerung; 3. Time regained; 10. TANNHAUSER THROUGH BAUDELAIRE'SLOOKING-GLASS: MODERN OR POSTMODERN?; 1. The carnal and the Platonic in theTannhauser Overture; 2. Which Tannhauser did Baudelaire hear?; 3. Tannhauseras a theory of art; 4. A work that is completed but unfinished; 11. BOULEZ INTHE POSTMODERN ERA: THE TIME OF REPONS; 1. Modernism, postmodernism, andclassicism; 2. The ideology of progress and the empiricism of evolution; 3.The crisis in musical 'communicaton'; 4. Repons in history; 5. Listening toRepons; 6. Conception and perception in Repons; 7. Sociologism and valuejudgment; 8. The classicism of Repons