Chopin's Subjects: A Prelude
On one hand-but in this case we'll need three hands, even if we are talking about piano music for one player-there is a model of dialogical speech, or, more musically, of operatic duet, intimating that there can be no subject at all absent another subject with whom signs must be exchanged. The...
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| Published in | 19th century music Vol. 35; no. 3; pp. 162 - 164 |
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| Main Author | |
| Format | Journal Article |
| Language | English |
| Published |
Berkeley
University of California Press
01.03.2012
University of California Press Books Division |
| Subjects | |
| Online Access | Get full text |
| ISSN | 0148-2076 1533-8606 |
| DOI | 10.1525/ncm.2012.35.3.iii |
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| Summary: | On one hand-but in this case we'll need three hands, even if we are talking about piano music for one player-there is a model of dialogical speech, or, more musically, of operatic duet, intimating that there can be no subject at all absent another subject with whom signs must be exchanged. The Chopin sound is not, of course, unique in that respect, not at all, but it is strongly iconic, perhaps because its virtual confinement to solo piano performance exposes the role of subjective agency so persistently, almost with the force of inevitability. |
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| Bibliography: | ObjectType-Article-1 SourceType-Scholarly Journals-1 ObjectType-Feature-2 content type line 14 |
| ISSN: | 0148-2076 1533-8606 |
| DOI: | 10.1525/ncm.2012.35.3.iii |