Boulez, Music and Philosophy
While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates a number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work.
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1 Preparing the ground
2 Early influences and movements
3 Dialectic negation and binary oppositions
4 Boulez Adorno and serial critique
5 Deduction and the scientific model
6 Serialism and structuralism
7 Poststructuralist encounters
acknowledges Adorno aesthetic Andr´e Bergson Boulez’s music Coll`ege de France composer’s composition concept critique Darmstadt lectures deduction deﬁned deﬁnition Deleuze Deleuze and Guattari Deleuze’s dialectical difference difﬁculties dodecaphony duration early Eclat elements example ﬁelds ﬁg ﬁgures ﬁnds ﬁrst ﬁve ﬁxed ﬂute formal France lectures Hegel heterophony ideas identiﬁed identity inﬂuence L´evi-Strauss language Leibowitz Letter dated m´etier Mallarm´e movement musique informelle Nattiez negation non-pulsed notion oppositions Originel Paul Klee Paul Sacher Paul Sacher Stiftung perceptible philosophical Piencikowski Pierre Boulez pitch space polyphony possible Pousseur pulsed R´epons recognised references reﬂections relation relationship repetition rhythmic Ruwet Schaeffner Schloezer 1947 Schoenberg scientiﬁc sections serial composers serial music signiﬁcant smooth Sonata for piano Sonatine Souris Souvtchinsky speciﬁc Stockhausen Stravinsky striated structuralist structure surrealist temporal thematic thematicism theory thought tonal Tr`es traditional twelve-tone twelve-tone technique Universal Edition variation virtual theme Wangerm´ee Webern writings Wyschnegradsky