{"title":"The Musical Text: Theorizing Openness after Structuralism","authors":"SAM RIDOUT","doi":"10.1017/s1478572223000245","DOIUrl":null,"url":null,"abstract":"This article attends to the conjuncture in the early 1970s of post-Cagean musical practice and poststructuralist theory associated with the journal <jats:italic>Musique en jeu</jats:italic> and the music department of the Centre universitaire expérimental de Vincennes. Reading the theoretical writing of figures including Daniel Charles and Ivanka Stoïanova alongside the music of Costin Miereanu, the article elaborates the account of the open work that emerges there, before turning to an LP by Miereanu, <jats:italic>Luna cinese</jats:italic> (1975), which grapples with the aporetic figure of the open record and in so doing takes the ‘openness’ of post-Cagean experimentalism in new directions. In conclusion, I begin to theorize what Miereanu's open record suggests about the listening that records call for and the fixity of records in general.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Twentieth-Century Music","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s1478572223000245","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
This article attends to the conjuncture in the early 1970s of post-Cagean musical practice and poststructuralist theory associated with the journal Musique en jeu and the music department of the Centre universitaire expérimental de Vincennes. Reading the theoretical writing of figures including Daniel Charles and Ivanka Stoïanova alongside the music of Costin Miereanu, the article elaborates the account of the open work that emerges there, before turning to an LP by Miereanu, Luna cinese (1975), which grapples with the aporetic figure of the open record and in so doing takes the ‘openness’ of post-Cagean experimentalism in new directions. In conclusion, I begin to theorize what Miereanu's open record suggests about the listening that records call for and the fixity of records in general.
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