{"title":"Sirènes","authors":"Julian Johnson","doi":"10.1093/oso/9780190066826.003.0002","DOIUrl":null,"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":0.0000,"publicationDate":"2020-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"After Debussy","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190066826.003.0002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
德彪西的诗是讨论从德彪西到萨里亚霍的音乐中无声的声音的起点。我们应该如何解释海妖的声音?是一种厌恶女性的声音(卡瓦雷罗)，还是一种危险的诱人的声音(阿多诺和霍克默)，它把语言的声音方面置于其意义方面之上?mallarm的《一场政变》探讨了海妖的声音导致语言的海难和语法秩序的瓦解。这被认为是与德彪西呼吁将音调语法分解为一种更流畅的音乐逻辑的平行。两者都使新关系的“星座”出现，这是20世纪50年代布列兹的一个关键思想，从Pli selon Pli到第三钢琴奏鸣曲。
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.
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