After Debussy最新文献

Writing the body 写主体

After Debussy

Pub Date : 2020-01-23 DOI: 10.1093/oso/9780190066826.003.0009

Julian Johnson

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.

本章区分了最近在经验现象学中对身体前景的学科波动，以及更具体地关注音乐作品如何写身体。就像mallarm把舞者看作是一个个体一样，“德彪西之后”的音乐也可以用类似的方式来理解。德彪西的钢琴《pracimludes》(第1册)对身体的重新书写进行了详细的研究。梅洛庞蒂的工作,jean - luc南希,米歇尔•serre和让-吕克·马里昂是探索的现象学,感知身体中心发展阶段但读哲学思想已经被探索通过艺术和音乐。

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Sirènes

After Debussy

Pub Date : 2020-01-23 DOI: 10.1093/oso/9780190066826.003.0002

Julian Johnson

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.

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。

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Mirrors 镜子

After Debussy

Pub Date : 2020-01-23 DOI: 10.1093/oso/9780190066826.003.0007

Julian Johnson

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.

反思的比喻突出了艺术不是现实的再现，而是作为异位空间的重塑(福柯)的观点。莫奈和马蒂斯的两幅河画《开着的窗户》(1905)作为视觉和观看本质的研究被探索，预示着梅洛-庞蒂对视觉和我们对世界的感知的探索。德彪西之后的音乐也做了类似的事情，比如萨里亚霍的两首“nymphacimas”乐曲和布列兹的《第三钢琴奏鸣曲》中的“星座-镜子”。门槛的概念在音乐上被探讨，从福尔的歌曲循环《幻影》(1919)到格里西的最后一部作品《第四部圣歌》(1998)。镜子反射的思想在声音和回声的思想中找到了音乐的平行之处，这是电声音乐发展的核心。

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Thinking in sound 用声音思考

After Debussy

Pub Date : 2020-01-23 DOI: 10.1093/oso/9780190066826.003.0010

Julian Johnson

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.

德彪西的音乐是根据它的感觉逻辑(德勒兹)和它提供的存在方式来讨论的，而不是任何命题的话语逻辑。作曲家在声音中思考;它们不会把别的东西转换成声音。萨里亚霍的“梦的语法”表明了对另一种音乐逻辑的关注——阿多诺称之为“非正式的音乐”。“Jeux de vgues”，德彪西的La mer的中心乐章，提供了一个关键的焦点，尽管迪蒂勒和萨里亚霍的音乐也被探索来展示这一音乐曲目的暗示逻辑。本章探讨了这种音乐如何构成“一种新的认识论”(Dufourt)，一种体现在音乐作品细节中的对世界的认识。

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Taking place 发生

After Debussy

Pub Date : 2020-01-23 DOI: 10.1093/oso/9780190066826.003.0006

Julian Johnson

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.

“德彪西之后”的音乐并不呈现音乐的论点或叙事，而是“发生”，因此更像风景或风景画，而不是文学。它既不涉及代表，也不涉及交流。从德彪西的《La mer》(1905)到穆里尔的《Le partage des aux》(1996)，再到萨里亚霍的《L’amour de loin》(2001)，对海洋的关注都表明了一种关注，即允许音乐在形式和色彩的游戏中无限流动，但不是非话语性的。这需要一种不同的倾听方式，它与声音环境的不同意识相关联。福尔的歌曲《花园》(1914)探讨了花园的封闭空间。德彪西的La mer形成了一个主要的焦点，探索一种身临其境的形式，在线性的调性实践之外工作。

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