Departing from the traditional German school of music theorists, Michael Klein injects a unique French critical theory perspective into the framework of music and meaning. Using primarily Lacanian notions of the symptom, that unnamable jouissance located in the unconscious, and the registers of subjectivity (the Imaginary, the Symbolic Order, and the Real), Klein explores how we understand music as both an artistic form created by qthe subjectq and an artistic expression of a culture that imposes its history on this modern subject. By creatively navigating from critical theory to music, film, fiction, and back to music, Klein distills the kinds of meaning that we have been missing when we perform, listen to, think about, and write about music without the insights of Lacan and others into formulations of modern subjectivity.For JankAclAcvitch, atechnical analysis is a means of refusing to abandon oneself spontaneously to grace, which is the ... middle section, which is a series of continuous variations on a simple four-measure harmonic pattern (Example 2.5).
|Title||:||Music and the Crises of the Modern Subject|
|Author||:||Michael L. Klein|
|Publisher||:||Indiana University Press - 2015-07-06|