Musique classique instrumentale et récit
From the 1970s on, musicologists have explored relationships between classical instrumental music and narrative. In a first phase of research, musicologists offered positive analogies or identified music as an instance of narrative in the hope of resolving longstanding questions about musical meanin...
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| Pubblicato in: | URI:https://journals.openedition.org/filigrane, |
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| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Français |
| Pubblicazione: |
Filigrane
2024
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| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Riassunto: | From the 1970s on, musicologists have explored relationships between classical instrumental music and narrative. In a first phase of research, musicologists offered positive analogies or identified music as an instance of narrative in the hope of resolving longstanding questions about musical meaning. In a second phase, several writers (including Carolyn Abbate, Peter Kivy, and Jean-Jacques Nattiez) raised a number of objections to this approach. The present essay suggests that musicologists have entered a third phase, beyond the exaggerated optimism and scepticism of the first two, in which the exploration of multiple, non-exclusive analogies between music and narrative can be seen as valuable. The essay offers a detailed examination of classic essays by Marion Guck, Susan McClary, and Anthony Newcomb, and also explores ways in which different performances of Beethoven’s Fifth Symphony suggest different narrative interpretations. |
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