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LEADER 03278cam 2200361 a 4500

001 ocm35990210;

003 OCoLC;

005 20141212124150.0;

008 961115s1997 ncua b 001 0 eng ;

010 a| 96039870;

020 a| 0822319292 (alk. paper);

020 a| 0822319225 (pbk. : alk. paper);

035 a| (Sirsi) o35990210;

035 a| (OCoLC)35990210;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML3830b| .S28 1997;

100 1 a| Schwarz, David,d| 1952-=| ^A390121;

245 10 a| Listening subjects :b| music, psychoanalysis, culture /c| David Schwarz.;

260 a| Durham :b| Duke University Press,c| 1997.;

300 a| x, 211 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 203-206) and index.;

505 0 a| 1. Music as sonorous envelope and acoustic mirror -- 2. Scatting, the acoustic mirror, and the real in the Beatles' "I want you (She's so heavy)" -- 3. Why notes always reach their destination (at least once) in Schubert's Winterreise -- 4. Music and the gaze: Schubert's "Der Doppelganger" and "Ihr Bild" -- 5. Peter Gabriel's "Intruder," a cover, and the gaze -- 6. Oi: Music, politics, and violence -- 7. Lamentation, abjection, and the music of Diamanda Galas.;

520 a| This book uses psychoanalytic techniques to probe the visceral experiences of music listeners. Using classical, popular, and avant-garde music as texts, the author addresses intriguing questions: why do bodies develop goose bumps when listening to music and why does music sound so good when heard "all around?" By concentrating on music as cultural artifact, this book shows how the historical conditions under which music is created affect the listening experience. The author applies the ideas of post-Lacanian psychoanalytic theorists Slavoj Zizek, Julia Kristeva, and Kaja Silverman to an analysis of diverse works. In a discussion of John Adams's opera Nixon in China, he presents music listening as a fantasy of being enclosed in a second skin of enveloping sound. He looks at the song cycles of Franz Schubert as an examination and expression of epistemological doubts at the advent of modernism, and traverses fantasy "space" in his exploration of the white noise at the end of the Beatles' "I Want You (She?s So Heavy)." The author also considers the psychosexual undercurrent in Peter Gabriel's "Intruder" and the textual and ideological structures of German Oi Musik. Concluding with a reading of two compositions by Diamanda Galás, he reveals how some performances can simultaneously produce terror and awe, abjection and rage, pleasure and displeasure. This multilayered study transcends other interventions in the field of musicology, particularly in its groundbreaking application of literary theory to popular and classical music.;

650 0 a| Musicx| Psychological aspects.=| ^A106790;

650 0 a| Psychoanalysis.=| ^A220;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

596 a| 3;

998 a| 618475;

999 a| ML3830 .S28 1997w| LCc| 1i| 30372009600906d| 7/17/2014e| 4/28/2010f| 4/25/2024g| 4l| MSTm| JMUSICn| 4q| 1r| Ys| Yt| MGESBKu| 8/28/1997x| BOOKz| MCIRCo| .STAFF. enhanced 1/21/24 -jjab;

Listening subjects : music, psychoanalysis, culture / David Schwarz.

Author/creator	Schwarz, David, 1952-
Format	Book
Publication Info	Durham : Duke University Press, 1997.
Description	x, 211 pages : illustrations ; 24 cm
Subjects	Music--Psychological aspects. Psychoanalysis. Music--Philosophy and aesthetics.

Contents	1. Music as sonorous envelope and acoustic mirror -- 2. Scatting, the acoustic mirror, and the real in the Beatles' "I want you (She's so heavy)" -- 3. Why notes always reach their destination (at least once) in Schubert's Winterreise -- 4. Music and the gaze: Schubert's "Der Doppelganger" and "Ihr Bild" -- 5. Peter Gabriel's "Intruder," a cover, and the gaze -- 6. Oi: Music, politics, and violence -- 7. Lamentation, abjection, and the music of Diamanda Galas.
Abstract	This book uses psychoanalytic techniques to probe the visceral experiences of music listeners. Using classical, popular, and avant-garde music as texts, the author addresses intriguing questions: why do bodies develop goose bumps when listening to music and why does music sound so good when heard "all around?" By concentrating on music as cultural artifact, this book shows how the historical conditions under which music is created affect the listening experience. The author applies the ideas of post-Lacanian psychoanalytic theorists Slavoj Zizek, Julia Kristeva, and Kaja Silverman to an analysis of diverse works. In a discussion of John Adams's opera Nixon in China, he presents music listening as a fantasy of being enclosed in a second skin of enveloping sound. He looks at the song cycles of Franz Schubert as an examination and expression of epistemological doubts at the advent of modernism, and traverses fantasy "space" in his exploration of the white noise at the end of the Beatles' "I Want You (She?s So Heavy)." The author also considers the psychosexual undercurrent in Peter Gabriel's "Intruder" and the textual and ideological structures of German Oi Musik. Concluding with a reading of two compositions by Diamanda Galás, he reveals how some performances can simultaneously produce terror and awe, abjection and rage, pleasure and displeasure. This multilayered study transcends other interventions in the field of musicology, particularly in its groundbreaking application of literary theory to popular and classical music.
Bibliography note	Includes bibliographical references (pages 203-206) and index.
LCCN	96039870
ISBN	0822319292 (alk. paper)
ISBN	0822319225 (pbk. : alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML3830 .S28 1997	✔ Available	Place Hold

Listening subjects : music, psychoanalysis, culture / David Schwarz.

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