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Introduction Subjectivity in European Song: Time, Place, and Identity

Introduction Subjectivity in European Song: Time, Place, and Identity INTRODUCTION Introduction Subjectivity in European Song: Time, Place, and Identity BENEDICT TAYLOR AND CERI OWEN Song—the sound of the singing voice—has long tion between song and subjectivity neverthe- proved the iconic medium of subjectivity, an less assumes particular importance for Rousseau audible signal of subjective presence. “As soon (a composer as well as a writer and thinker) and as vocal signs strike your ear,” proposed Jean- his Romantic successors. Entering into alliance Jacques Rousseau in his Essay on the Origin of with modern conceptions of the self, the aes- Languages, “they proclaim a being similar to thetics of subjective interiority and the imme- yourself; they are, so to speak, the organs of the diacy of musical expression, song—above all soul. Birds whistle, man alone sings, and one the nineteenth-century solo song, as epitomized cannot hear either a song or an instrumental by the German Lied—became emblematic of a piece without immediately saying to oneself: particular historical understanding of subjec- another sensitive being is present.” The idea tivity. was not new to the later eighteenth century of Song demands that we ask what it is to be an course: some form of this belief can be traced individual subject, a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Introduction Subjectivity in European Song: Time, Place, and Identity

19th-Century Music , Volume 40 (3): 4 – Mar 1, 2017

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Publisher
University of California Press
Copyright
© 2017 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2017.40.3.185
Publisher site
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Abstract

INTRODUCTION Introduction Subjectivity in European Song: Time, Place, and Identity BENEDICT TAYLOR AND CERI OWEN Song—the sound of the singing voice—has long tion between song and subjectivity neverthe- proved the iconic medium of subjectivity, an less assumes particular importance for Rousseau audible signal of subjective presence. “As soon (a composer as well as a writer and thinker) and as vocal signs strike your ear,” proposed Jean- his Romantic successors. Entering into alliance Jacques Rousseau in his Essay on the Origin of with modern conceptions of the self, the aes- Languages, “they proclaim a being similar to thetics of subjective interiority and the imme- yourself; they are, so to speak, the organs of the diacy of musical expression, song—above all soul. Birds whistle, man alone sings, and one the nineteenth-century solo song, as epitomized cannot hear either a song or an instrumental by the German Lied—became emblematic of a piece without immediately saying to oneself: particular historical understanding of subjec- another sensitive being is present.” The idea tivity. was not new to the later eighteenth century of Song demands that we ask what it is to be an course: some form of this belief can be traced individual subject, a

Journal

19th-Century MusicUniversity of California Press

Published: Mar 1, 2017

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