جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
by Sarah Reichardt
Since the publication of Solomon Volkov's disputed memoirs of
Dmitri Shostakovich, the composer and his music has been subject to
heated debate concerning how the musical meaning of his works can be
understood in relationship to the composer's life within the Soviet
State. While much ink has been spilled, very little work has attempted
to define how Shostakovich's music has remained so arresting not only to
those within the Soviet culture, but also to Western audiences - even
though such audiences are often largely ignorant of the compositional
context or even the biography of the composer. This book offers a useful
corrective: setting aside biographically grounded and traditional
analytical modes of explication, Reichardt uncovers and explores the
musical ambiguities of four of the composer’s middle string quartets,
especially those ambiguities located in moments of rupture within the
musical structure. The music is constantly collapsing, reversing,
inverting and denying its own structural imperatives. Reichardt argues
that such confrontation of the musical language with itself, though
perhaps interpretable as Shostakovich's own unique version of
double-speak, also poignantly articulates the fractured state of a more
general form of modern subjectivity. Reichardt employs the framework of
Lacanian psychoanalysis to offer a cogent explanation of this connection
between disruptive musical process and modern subjectivity. The
ruptures of Shostakovich's music become symptoms of the pathologies at
the core of modern subjectivity. These symptoms, in turn, relate to the
Lacanian concept of the real, which is the empty kernel around which the
modern subject constructs reality. This framework proves invaluable in
developing a powerful, original hermeneutic understanding of the music.
Read through the lens of the real, the riddles written into the quartets
reveal the arbitrary and contingent state of the musical subject's
constructed reality, reflecting pathologies ende...