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By Michael L. Klein

Departing from the normal German university of tune theorists, Michael Klein injects a special French serious concept standpoint into the framework of song and which means. utilizing essentially Lacanian notions of the symptom, that unnamable jouissance positioned within the subconscious, and the registers of subjectivity (the Imaginary, the Symbolic Order, and the Real), Klein explores how we comprehend song as either a creative shape created via "the topic" and an inventive expression of a tradition that imposes its heritage in this smooth topic. via creatively navigating from serious thought to tune, movie, fiction, and again to song, Klein distills the categories of that means that we have got been lacking once we practice, hearken to, take into consideration, and write approximately track with out the insights of Lacan and others into formulations of recent subjectivity.

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Heroic Action ‰ œ œŒ Œ f j j ‰ # œœ œœ ‰ ‰ j j ‰ Œ Œ ‰ œœj # œ # œ œ # œœ œœ œ #œ # œ f marc. œ. œ . Œ Œ œ œ œ - œ œ œ c#: ∑ ‰. ) œœ ‰ œ œ #œ œ œ nœ ‹œ j # œœ .. œ nœ œ œ. œ nœ œ ∑ œ œœœ œœ œ ≈ œ œœ R œ œ œ œ œ J œœ œ J motto œ J œœ n œœ œr œœ œ n œ ≈ œœ œ œ J Œ ? Œ œ œ. œ # # œœœ Œ œ œœ œœ œ œ ‰ œJ f marc. œœ œ ≈ œr # œ J œ œœ œœ œœ #œ ben marc. œœ r ≈ œ œ œ œ f # œœ œ œœ œ œ œ . œ œ. œ œ nœ nœ . ≈ œ œ œ œ œ œ œœ . œ œ œ ‹ # œœœœ ≈ ≈ œ œœ. œœ œœ œ œ S œ œ œœœ œœ œ œ ‰ œœ œ œ œ œ œ ≈ œ & # œœ S # # ˙˙˙ #˙ b & b b b b b 43 125 œ bœ bœ œ œ ‰ ∑ œœ œœ œ œ œ r œ œ œœ ≈ n œœ œœ n œœœ n œœœ ≈ œœ œœ œ nœ S f sempre e ben marc.

Empty 5ths ("dead") & p sotto voce ˙. b n ˙˙˙ ... π ˙. n ˙˙˙ ... #œ œœ œœ ˙ ˙˙˙˙ ... ˙ .. œ œœ œ œ nœ nœ œ cresc. œ œœ œ g œœ g b œœ œœ œ œ œ œ g œ ggg œœ g œœ œ ggg n œœ œ ggg œœ œœ g œœ g œœ g œ œ g œœ gg œœ gg œ œœ œœ Œ œ œ f > œ œ œ œ > 3 nœ ggg œœ gœ ∑ ∑ œ. œ œ œ ˙. ˙˙ .. ˙˙ .. œ œ#œ œ œ œ ? œœ n œ Œ Œ œ b œ œœ œ œ dim. œœ 3 œ > œ œ > > œœ ˙. œ > œœ œœ œ n œ œœœ nœ œ œ ggg n œœœ œ œ œœ œ gg œœœœ gg œœœ g ∑ ∑ ˙œ œ ˙ œ œ˙ .. œ œ œ ˙. œ œ œ œ œ œ. œ œ œ œ. œ œ œ p sotto voce ˙.

There will be no veering from the formal scheme, no altered harmonic background, no capitulation to the motive’s virulence. Instead, Brahms stays the course, following the thematic pattern set by the exposition and making only those harmonic changes necessary to keep the music in the home key. The sole cure for academic rigor as a symptom is to take it up and follow its formal mandate to the coda, where death is the foreseeable consequence. 36 Music and the Crises of the Modern Subject We have come to a second answer concerning the putative cure of a symptom that nevertheless results in death.

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