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You're There and You're Not There: Musical Borrowing and Cavell's "Way"

You're There and You're Not There: Musical Borrowing and Cavell's "Way" Examples of borrowing strategies in both musical and philosophical texts are outlined. Cavell's position on quotation as `being the other to one's self' is explored. Three cases of musical versus philosophical modes of borrowing are surveyed: Cavell borrowing Thoreau versus Ignaz Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice are applied to the understanding of musical borrowing. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

You're There and You're Not There: Musical Borrowing and Cavell's "Way"

Journal of Music Theory , Volume 54 (1) – Mar 1, 2010

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Publisher
Duke University Press
Copyright
Duke University Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2010-013
Publisher site
See Article on Publisher Site

Abstract

Examples of borrowing strategies in both musical and philosophical texts are outlined. Cavell's position on quotation as `being the other to one's self' is explored. Three cases of musical versus philosophical modes of borrowing are surveyed: Cavell borrowing Thoreau versus Ignaz Friedman borrowing Bach in Gavotte (1948); Cavell borrowing Emerson versus Berio borrowing Mahler in Sinfonia (1960); and Cavell borrowing Derrida reading Austin versus Richard Beaudoin borrowing Martha Argerich reading Chopin in Étude d'un prélude IV—Black Wires (2009). Cavell's theories of the voice are applied to the understanding of musical borrowing.

Journal

Journal of Music TheoryDuke University Press

Published: Mar 1, 2010

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