Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation...Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.展开更多
This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining mu...This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining musical expressions of the Vietnam War era. It centers on an analysis of the relationship of the body/self to an ＂ecology of war＂ produced through Crumb＇s music that renders these selves indistinct within this musical geography. The selves that inhabit Black Angels could be that of anybody in particular since Crumb seeks to invoke in his music the primeval experience of terror that inhabits in all of us as the inheritors of mankind＇s violence. This sense of the universal militates against the desirable qualities of popular music that rely on the production of autonomous and singular selves that make the distinction between enemy and friend possible and distinct. We focus on Crumb＇s use of archaisms, his construction of time in this piece, and the author＇s overall purpose to invoke a time of war rather than to reflect the conditions of war, in order to delineate the contours of the universal time and space producing the undifferentiated primeval self of war. We conclude that although Crumb＇s rejection of the national self deprives the piece of a salient place in the popular cannon of the war, it has left an intellectual legacy on the times of the Vietnam War that deserves to be preserved.展开更多
文摘Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.
文摘This paper proposes new ways to understand the sense of universality in music through a reflection and analysis of George Crumb＇s Black Angels （Images 1）： Thirteen lmages from the Dark Land, one of the defining musical expressions of the Vietnam War era. It centers on an analysis of the relationship of the body/self to an ＂ecology of war＂ produced through Crumb＇s music that renders these selves indistinct within this musical geography. The selves that inhabit Black Angels could be that of anybody in particular since Crumb seeks to invoke in his music the primeval experience of terror that inhabits in all of us as the inheritors of mankind＇s violence. This sense of the universal militates against the desirable qualities of popular music that rely on the production of autonomous and singular selves that make the distinction between enemy and friend possible and distinct. We focus on Crumb＇s use of archaisms, his construction of time in this piece, and the author＇s overall purpose to invoke a time of war rather than to reflect the conditions of war, in order to delineate the contours of the universal time and space producing the undifferentiated primeval self of war. We conclude that although Crumb＇s rejection of the national self deprives the piece of a salient place in the popular cannon of the war, it has left an intellectual legacy on the times of the Vietnam War that deserves to be preserved.
