After DebussyPub Date : 2020-01-23DOI: 10.1093/oso/9780190066826.003.0009
Julian Johnson
{"title":"Writing the body","authors":"Julian Johnson","doi":"10.1093/oso/9780190066826.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780190066826.003.0009","url":null,"abstract":"This chapter distinguishes between recent disciplinary swings to foreground the body, in a phenomenology of experience, and the more specific focus on how musical works write the body. Just as Mallarmé sees the dancer as an écriture corporelle, so music ‘after Debussy’ can be understood in a similar way. Debussy’s piano Préludes (Book 1) are examined in detail for their re-writing of the body. The work of Merleau-Ponty, Jean-Luc Nancy, Michel Serres, and Jean-Luc Marion are explored in terms of a phenomenology that places the perceiving body centre stage but read as a development in philosophical thought that was already being explored through art and music.","PeriodicalId":345146,"journal":{"name":"After Debussy","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123511669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After DebussyPub Date : 2020-01-23DOI: 10.1093/oso/9780190066826.003.0002
Julian Johnson
{"title":"Sirènes","authors":"Julian Johnson","doi":"10.1093/oso/9780190066826.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190066826.003.0002","url":null,"abstract":"Debussy’s Sirènes is the starting point for a discussion of the wordless voice in music from Debussy through to Saariaho. How should we interpret the idea of the siren voice? As a misogynistic voice (Cavarero), or a dangerously seductive voice (Adorno and Horkeimer) that foregrounds the sonic aspect of language over its signifying aspect? Mallarmé’s Un coup de dès is used to explore the idea of the siren’s voice leading to the shipwreck of language and the breaking up of grammatical order. This is taken as a parallel to Debussy’s call to dissolve tonal grammar towards a more fluid kind of musical logic. Both enable the appearing of a ‘constellation’ of new relations, a key idea for Boulez in the 1950s, from Pli selon pli to the Third Piano Sonata.","PeriodicalId":345146,"journal":{"name":"After Debussy","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127226616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After DebussyPub Date : 2020-01-23DOI: 10.1093/oso/9780190066826.003.0007
Julian Johnson
{"title":"Mirrors","authors":"Julian Johnson","doi":"10.1093/oso/9780190066826.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190066826.003.0007","url":null,"abstract":"The trope of reflection foregrounds the idea that art is not a representation of reality but its remaking as a heterotopic space (Foucault). Two river paintings of Monet and Matisse’s The Open Window (1905) are explored as studies in the nature of vision and looking, anticipating Merleau-Ponty’s exploration of visuality and our perception of the world. Music since Debussy does something similar, as is shown in Saariaho’s two ‘Nymphéas’ pieces and in Boulez’s Constellation-Miroir from the Third Piano Sonata. The idea of a threshold is explored musically in relation to works from Fauré’s song cycle Mirages (1919) through to Grisey’s last work, Quatre chants pour franchir le seuil (1998). The idea of mirror reflection finds a musical parallel in the idea of sound and echo, central to the development of electro-acoustic music.","PeriodicalId":345146,"journal":{"name":"After Debussy","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117062040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After DebussyPub Date : 2020-01-23DOI: 10.1093/oso/9780190066826.003.0010
Julian Johnson
{"title":"Thinking in sound","authors":"Julian Johnson","doi":"10.1093/oso/9780190066826.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780190066826.003.0010","url":null,"abstract":"Debussy’s music is discussed in terms of its logic of sensation (Deleuze) and the ways of being it affords, rather than for any discursive logic of propositions. Composers think in and through sounds; they do not transpose other things into sound. Saariaho’s ‘grammar of dreams’ signals a concern with a different kind of musical logic – what Adorno called a ‘musique informelle’. ‘Jeux de vagues’, the central movement of Debussy’s La mer, provides a key focus, though music by Dutilleux and Saariaho is also explored to demonstrate the allusive logic of this musical repertoire. The chapter examines how this music constitutes ‘a new epistemology’ (Dufourt), an embodied knowing of the world inscribed in the details of musical works.","PeriodicalId":345146,"journal":{"name":"After Debussy","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117319156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After DebussyPub Date : 2020-01-23DOI: 10.1093/oso/9780190066826.003.0006
Julian Johnson
{"title":"Taking place","authors":"Julian Johnson","doi":"10.1093/oso/9780190066826.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190066826.003.0006","url":null,"abstract":"Music ‘after Debussy’ does not present musical arguments or narratives, but rather ‘takes place’ and is thus experienced more like landscape, or the painting of landscape, than literature. It is concerned neither with representation nor communication. A central concern with the sea, from Debussy’s La mer (1905) through to Murail’s Le partage des eaux (1996) and Saariaho’s L’amour de loin (2001) denotes a concern with allowing music to be endlessly mobile in its play of forms and colours, but non-discursive. This requires a different kind of listening which relates to a different kind of consciousness of the sonic environment. The closed space of the garden is explored in Fauré’s song cycle Le jardin clos (1914). Debussy’s La mer forms a principal focus for exploring an immersive play of forms that work outside the linearity of tonal practice.","PeriodicalId":345146,"journal":{"name":"After Debussy","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122392986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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