A personal voyage of discovery drawing on musicology, literary theory, Jewish studies, and philosophical phenomenology.
As a work of musical theory, or meta-theory, Music’s Making draws extensively on work done in philosophy and literary criticism in addition to the scholarship of musicologists and music theorists. Music’s Making is divided into two large parts. The first half develops global attitudes toward music: emergence out of self and hearing through (drawing on Kabbalah and other sources), middle-voice (as discussed in philosophical phenomenology), liminal space (as discussed in literary theory), an ethics of intersubjectivity (drawing on Levinas), and character, canon, and metaleptic transformations (drawing chiefly on Harold Bloom). The second half embodies a search for metaphors, figurative language toward understanding music’s endlessly variegated shaping of time-space. The musicians and scholars who inform this part of the book include Pierre Boulez, Gilles Deleuze, Anton Webern, Morton Feldman, and James Dillon. The book closes with an extended inquiry into the metaphors of horizontal and vertical experience and the spiritual qualities of musical experience expressed through those metaphors.
Inhaltsverzeichnis
Foreword
Phil Ford
Preface
Introduction: Remembering David Benjamin Lewin
Part I
1. Music as Fiction
2. That Which Emerges out of Itself, That Which Is Created
3. Moving toward Middle Voice
4. Liminal Space
5. An Ethics of Intersubjectivity
6. Character, Canon, and Poetic Influence
Part II
7. Phrase as Musical Event, Wave as Musical Metaphor, and the Silence of Musical Space
8. Metric, Ametric, Fractured Meter, and a Sea of Silence
9. Smooth Space, Striated Space: Nomadic Space, Agrarian Space
10. What Repetition Can Do: Time’s Arrows
11. The Horizontal and the Vertical: Worldly and Spiritual
Notes
Bibliography
Index
Über den Autor
Michael Cherlin is Professor Emeritus of Music Theory and Composition at the University of Minnesota. He is the author of Schoenberg’s Musical Imagination and Varieties of Musical Irony: From Mozart to Mahler.
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