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

N omos /N omos : L aw , M elody and the D econstructive in W ebern's ‘L eichteste B ürden der B... NOMOS/NOMOS: MELODY THE DECONSTRUCTIVE LAW, AND IN W E B E R N ’ S ‘LEICHTESTE BURDEN BAUME’,A N T A T A 11 DER C Or. 31 0. Degree zero. Webern’s last completed work, the Second Cantata Op. 31 (1943), is a radical renovation of his mature serial practice.’ Celebrated by the post-war avant-garde as a precursor of integral serialism and the ‘degree zero’ of composition, the work foreshadows this tabula rasa. Which shows, of course, that there is no absolutely new beginning. In music history, the Second Cantata is a classic instance of what Derrida calls the ‘non-originary’ origin. Barthes defined the degree zero of writing as ‘the search for a new style, for a zero level or spoken level of writing, . . . the anticipation of a homogeneous social state’ (Barthes 1967, p. 87), which attempts to overcome ‘necessary’ division (of languages, classes and modes of expression) through creative acts of freedom from institutionalised ‘style’. Although the dimensions of necessity, of the institutional conventions that situate Webern’s writing in the Second Cantata, are expertly detailed in Zuber (1984) and Bailey (1991), the dimensions of freedom in the work and their relation to necessity, or http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

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

Music Analysis , Volume 21 (3) – Oct 1, 2002

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Publisher
Wiley
Copyright
Blackwell Publishers Ltd 2002
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00168
Publisher site
See Article on Publisher Site

Abstract

NOMOS/NOMOS: MELODY THE DECONSTRUCTIVE LAW, AND IN W E B E R N ’ S ‘LEICHTESTE BURDEN BAUME’,A N T A T A 11 DER C Or. 31 0. Degree zero. Webern’s last completed work, the Second Cantata Op. 31 (1943), is a radical renovation of his mature serial practice.’ Celebrated by the post-war avant-garde as a precursor of integral serialism and the ‘degree zero’ of composition, the work foreshadows this tabula rasa. Which shows, of course, that there is no absolutely new beginning. In music history, the Second Cantata is a classic instance of what Derrida calls the ‘non-originary’ origin. Barthes defined the degree zero of writing as ‘the search for a new style, for a zero level or spoken level of writing, . . . the anticipation of a homogeneous social state’ (Barthes 1967, p. 87), which attempts to overcome ‘necessary’ division (of languages, classes and modes of expression) through creative acts of freedom from institutionalised ‘style’. Although the dimensions of necessity, of the institutional conventions that situate Webern’s writing in the Second Cantata, are expertly detailed in Zuber (1984) and Bailey (1991), the dimensions of freedom in the work and their relation to necessity, or

Journal

Music AnalysisWiley

Published: Oct 1, 2002

References