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T he M usical O bject R evisited

T he M usical O bject R evisited A piece of music presupposes, even before the attempt to create a shape in time, a step back, away from the stuff, so that its substance is clearly distinguished from my own mood, phantasy, feeling, activity. The ultimate problem of the musical work of art lies toward the negative side of autonomy, toward distance and isolation. It is not so much to free music from words, representation, or function, as to free it from ourselves, to externalize it. The musical object must not only be made whole, but also given body, located at a distance and kept there. It must be ‘spatialized’, so to speak. The problem of musical form conceived as a piece is the making of the musical thing. (Patricia Carpenter, ‘The Musical Object’, 1967) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

T he M usical O bject R evisited

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
10.1111/1468-2249.00170
Publisher site
See Article on Publisher Site

Abstract

A piece of music presupposes, even before the attempt to create a shape in time, a step back, away from the stuff, so that its substance is clearly distinguished from my own mood, phantasy, feeling, activity. The ultimate problem of the musical work of art lies toward the negative side of autonomy, toward distance and isolation. It is not so much to free music from words, representation, or function, as to free it from ourselves, to externalize it. The musical object must not only be made whole, but also given body, located at a distance and kept there. It must be ‘spatialized’, so to speak. The problem of musical form conceived as a piece is the making of the musical thing. (Patricia Carpenter, ‘The Musical Object’, 1967)

Journal

Music AnalysisWiley

Published: Oct 1, 2002

References