N<scp>omos</scp>/N<scp>omos</scp>: L<scp>aw</scp>, M<scp>elody and the</scp> D<scp>econstructive in</scp> W<scp>ebern's</scp>‘L<scp>eichteste</scp> B<scp>ürden der</scp> B<scp>äume</scp>’, C<scp>antata</scp> II O<scp>p</scp>. 31

Ayrey, Craig

doi:10.1111/1468-2249.00168

Music Analysis

2002

DOI: 10.1111/1468-2249.00168

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Nomos/Nomos: Law, Melody and the Deconstructive in Webern's‘Leichteste Bürden der Bäume’, Cantata II Op. 31

Craig Ayrey¹

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2005

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“…Yet two further deconstructive readings by Craig Ayrey of Webern's Second Cantata Op. 31 (Ayrey 2002), and Raymond Monelle of music by Bach and Charles Ives (Monelle 2000) -indicate that its recursive effects can stili be traced to impressive effect. In Ayrey's virtuoso interpretation, the antinomy of law and freedom named by the Platonic signifier Nomos (a term Webern himself approved) is shown to radiate throughout the serial structure of the Cantata's fourth movement, Leichteste Biirden der Baume.…”

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Mémoire: on Music and Deconstruction

Street¹

2005

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The exploration of poststructuralism's likely implications for musical interpretation has formed a distinctive contribution to the expanding ensemble of discourses admitted toAnglo-American musicology over the course of the past twenty years. A trend manifest since the later 1980s, its potential was sensed most strongly by a younger generation of music analysts concerned to trace the reflexive consequences of postmodern critical thought for the established canons of systematic theory. As acknowledged in a series of overview surveys by Monelle (1992), Krims (1998), Ayrey (1998) and Norris (2000), its most productive outcomes may be codified in relation to a generalised critique of aesthetic ideology. However, the political consequences embodied in such modes of enquiry were largely displaced within a loosely defined 'New Musicology' throughout the 1990s as the effects of alterity became realigned with a critical programme based on individualised identity politics. The ramifications of difference continue to inform critical debate regarding the nature of musical unity (for instance, in the work of Agawu, Chua, Dubiel, Korsyn, Kramer, Morgan and others). However, this paper argues that the mediating role of artistic form ought not to be permitted to obscure the emancipatory capacity of deconstruction as affirmed by Derrida. In this respect, the message of resistance inscribed within poststructuralism should be seen as emblematic for the defence of musicology's academic status at a time when the discipline remains under threat of institutional closure.

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Mémoire: on Music and Deconstruction

Street¹

2005

MusAn

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Nomos/Nomos: Law, Melody and the Deconstructive in Webern's‘Leichteste Bürden der Bäume’, Cantata II Op. 31

Cited by 1 publication

References 12 publications

Mémoire: on Music and Deconstruction

Mémoire: on Music and Deconstruction

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